-

Up and Running:
A REAPER User Guide v 4.72
by
Geoffrey Francis
Version 4.72
Augus 2!"4
This guide will be updated regularly as the software itself is further improved and developed.
Check for updates and other information at
#p:$$%%%.coc&os.co'$reaper$
This document has been produced, compiled and rendered to PDF format using the
wonderful (pen(ffice )rier software.
For more information about (pen(ffice go to #p:$$%%%.openoffice.org
arch !""# to $ugust !"%&
*o% o Use +#is Guide
'($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. $lso, both the PDF and printed editions feature a comprehensive inde+. ,se it*
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
%
Up and Running: A REAPER User Guide v 4.72
ReaRead1 '($P(' books and training manuals printed and bound are now available from
http122stores.lulu.com2store.php3f$cct)D4%0#&#5&
REAPER 4 Un-eas#ed: Un-oc& .our /nner REAPER0
6'($P(' ,nleashed7 picks up where 8,p and 'unning8.leaves off.
This book lifts the lid off '($P('9s most powerful features, including custom actions, menus and toolbars,
F: chains, screensets, snapshots, templates, mouse modifiers and more. any resources are supplied,
including files with sample mouse modifiers, track templates, custom toolbars and much more.
)ts sample work files and do;ens of step by step tutorials will help you to understand how you can use
these features in combination with each other to make '($P(' behave for you the way you want it to.
<ill it teach you everything that you could possibly ever want to know about '($P('3 ost definitely not.
=ut will it help you unlock the creativity inside you to help you get the very best out of this program for
yourself3 ost certainly, yes*
Up and Running: A REAPER User Guide
The essential and definitive guide to recording, editing and mi+ing with '($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.
8,p and 'unning is not only a comprehensive guide to using '($P(', it9s also full of an ama;ing
amount of information on audio recording and engineering. ) simply cannot recommend it enough*8 -
1usin Fran&e- @CACBAC )nc and '($P(' DeveloperD.
Rea2i3: 4rea&ing #e 4arriers %i# REAPER
This book does much more than ?ust teach you how to use basic tools @such as volume, panning, (E,
gates, compressors, delay, reverb etc.D to get an AB mi+. )t also guides you thru the relationships F
some simple, some comple+ F that e+ist between the dimensions of sound and the dimensions of
space. )t guides you to use this knowledge to transform your AB mi+es into great mi+es.
$lthough not light on theory, it has a definite practical emphasis, with links to archives containing
some &" or so pro?ect files, with step by step e+amples to help you put your knowledge into practice.
8<ow* Co much good stuff - from mindbending advanced techniGues to solid sensible advice. This
guide should have a positive effect on ?ust about anybody interested in mi+ing @and especially those
using '($P('D*8 - 1usin Fran&e-, Cockos )nc, developer of '($P('.
Fore%ord and Ac&no%-edge'ens
'($P(' isnHt ?ust about software, and it isnHt ?ust about making music. )tHs about a whole lot more. '($P(' is a whole
entity. )t represents the way music should be, the way the internet should be, the way computers should be, the way
program development and licensing should be I. in fact, the way the world should be.
)tHs about collaboration and co-operation, and it is truly awesome. )f youHve already laboured or suffered at the hands
of some software companies, youHll know e+actly what )Hm talking about. )f you havenHt been there, then, believe me,
you donHt want to.
This ,ser .uide could not have been produced without the help of many of the fine people in the '($P(' community.
)f ) try to mention everybody, )Hll be sure to miss some out, so )Hll ?ust mention those whose assistance has been
absolutely invaluable1
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
!
-
2a-co-' 1acobson for his efforts in getting together the first '($P(' manual. Ar Evans for his
technical advice and constructive input.
2ario 4ianc#i @aka 2abianD for his invaluable help with document formatting and layout and for his
many constructive suggestions and ideas. $lso, a special 6thank you7 for comprehensively checking the
document.
5i'on 2u--ings for his help and suggestions and the patient hours spent on the tedious ?ob of proof-
reading.
6ar&sar and 'usicbynu'bers for too many helpful suggestions to mention**
4evan Fo%&e @aka 4evosssD for his advice and assistance with custom actions and macros.
5usan G for her assistance and advice, especially @but not e+clusivelyD on )D) matters.
1ason 4rian 2erri-- for, amongst other things, review and comments.
Pipe-ine Audio for the original video tutorials. )#ie +ie for awesome graphics. 7ena&ios, 1effos and
5)5 for their e+tension sets.
$nd, of course I
1usin, 8#risop#e and 5c#%a, for bringing us '($P('
Co 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, youHll find that there is more than enough information in here to get you
6up and running7. JouHll probably find that some sections contain information that youHll find difficult to understand
and which you might not need at first. Jou can ?ust skip over those sections and come back to them when youHre
ready. )f, like me, you have come to '($P(' with e+perience of other D$< software, youHll find that it pays to go over
even the most basic sections, to help you understand how '($P(' is designed, and how it slots together. JouHll find
yourself asking, 6<hy canHt they all be like this37 Jou should also find plenty more to interest you.
)t is not intended to be @and nor will it ever beD a %""K reference manual covering every single aspect and detail of
'($P('. )Hve tried to approach the topics in what seems a fairly sensible order, introducing items pretty much on a
6need to know7 basis. )n doing so, )Hve 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, )Hd like to make it clear that @apart from the e+tract from the CACBAC <eb CiteD any views or opinions
e+pressed here or anywhere else are entirely my own, and have not been endorsed by CACBAC 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, $ugust !"%&
REAPER )eb Resources
The '($P(' pro?ect is a live, dynamic and ongoing one. =e sure to check these web sites often1
http122www.cockos.com2reaper2 The '($P(' Lome Page
http122www.cockos.com2reaper2download.php The '($P(' Downloads Page
http122www.cockos.com2reaper2about.php '($P(' Features summary
http122www.cockos.com2forum2forumdisplay.php3f4!" The '($P(' Forums
http122www.cockos.com2wiki2 The '($P(' <iki
5a'p-e Pro9ec Fi-es
These are available for download from http122www.cockos.com2wiki2inde+.php2'($P('M,serM.uide
>ote that the links are case sensitive. The media files are in .P0 format. Come of the e+amples outlined in this
book reGuire recording further tracks in P0 format. )n order to be able to do this, you will need to have an
P0 encoder installed in your '($P(' program directory. The encoder file can be downloaded from a number of
locations, including http122www.free-codecs.com2download2NameM(ncoder.htm
=e sure to select the correct file for your system. For e+ample, for 0! bit <indows this will be -a'e:enc.d--.
$fter downloading the file, simply copy it into your '($P(' program folder. Ctart '($P(', then open the sample
pro?ect file and play it. )f you hear no sound, you should check the /( 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 /0" go to ,U,U.co'
0
Up and Running: A REAPER User Guide v 4.72
)#a;s <e% /n +#is Ediion =.
The last complete overhaul of this ,ser .uide was version &."". The last interim update before this edition was
version &.#". This version of the ,ser .uide is &.#!. )t fi+es a few minor errors, omissions and typos and has more
e+planations in some places. Jou will also find changes and new features. The main feature changes and additions
and other edits since the last update @including previously undocumented materialD are listed below1
8#anges in 4.72 )#ere ...
The &.#! update contains a large number of performance improvements and bug fi+es1 for a full list see *e-p>
8#ange-og. )n addition, the following additions and changes have been made to this ,ser .uide.
>ew Preferences, $udio, Device option to assign audio thread priority. Page !!
Dynamic splitting settings including leading pad, trailing pad and fade pad now better
e+plained @thank you nofish and planetnineD.
Page %O"
Cection on 'eaPerb updated. Pages !#O to !##
For a full list of changes introduced since version &." go to
#ps:$$d-.dropbo3.co'$u$??@!A7"!$userguidec#ange-og.pdf
Changes to this ,ser .uide in the various editions published since &."" and up to this one F including the ma?or
update &.Q - are summari;ed in the following document1
#ps:$$d-.dropbo3.co'$u$??@!A7"!$userguidec#ange-og.pdf
/'poran <oe: '($P('9s capabilities range far and wide1 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 '($P(' <iki1
%%%.coc&os.co'$%i&i$inde3.p#p. $nother is to use the '($P(' forums1 #p:$$foru'.coc&os.co'.
<oe: <ith '($P('9s rapid rate of development, this edition may not be %""K up to date. For a full list of new and
recent features, choose the *e-p> 8#ange-og command from the '($P(' menu. To check for the latest versions of
both '($P(' and this ,ser .uide, go to #p:$$%%%.coc&os.co'$reaper$do%n-oad.p#p
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
&
8onens
" 5eing Up and Geing 5ared.........................................................................................."7
%.% Downloading '($P('........................................................................................................................%#
%.! )nstalling '($P(' on an AC : ac.....................................................................................................%#
%.0 )nstalling '($P(' on a <indows PC...................................................................................................%#
%.& The )nstall Aptions @<indows onlyD....................................................................................................%5
%.Q '($P(' Coftware ,pdates.................................................................................................................%5
%.O (nabling P0 'ecording....................................................................................................................%R
%.# Ctarting '($P('................................................................................................................................%R
%.5 '($P(' Ctartup Tips.........................................................................................................................%R
%.R '($P(' Celections, Controls and Commands......................................................................................%R
%.%" The '($P(' Ccreen.........................................................................................................................!"
%.%% The Track and Track Controls...........................................................................................................!%
%.%! Cetting ,p For $udio .......................................................................................................................!%
%.%!.% Cetting ,p For $udio @PC <indowsD.......................................................................................!!
%.%!.! Cetting ,p For $udio @ac AC :D...........................................................................................!!
%.%0 )nput $liasing..................................................................................................................................!0
%.%& Autput $liasing................................................................................................................................!0
%.%Q Cetting ,p For )D).........................................................................................................................!&
%.%O (nabling PCT Plug-ins......................................................................................................................!Q
%.%# '($P('Hs )nstalled Folders and File Nocation.....................................................................................!O
%.%5 Nocali;ation and Nanguage Packs......................................................................................................!5
%.%R =acking ,p Cettings.........................................................................................................................!5
%.!" 'unning '($P(' on a Flash Drive....................................................................................................!5
%.!% '($P(' Ctart enu Aptions @<indows onlyD.....................................................................................!R
%.!! '($P(' File Types...........................................................................................................................0"
%.!0 Pops and Clicks...............................................................................................................................0"
%.!& ,ninstalling '($P('........................................................................................................................0"
2 REAPER Pro9ec 4asics.......................................................................................................@"
!.% Cection Averview...............................................................................................................................0%
!.! Apening an (+isting Pro?ect...............................................................................................................0%
!.0 Pro?ect Cettings.................................................................................................................................0!
!.& Directing $udio Autput......................................................................................................................00
!.Q The Transport =ar.............................................................................................................................0&
!.O The =ig Clock....................................................................................................................................0Q
!.# Track Controls...................................................................................................................................0Q
!.5 Pan Naw and Pan ode......................................................................................................................0O
!.R >avigation and Sooming....................................................................................................................0O
!.%" Beyboard Chortcut and ouse Defaults.............................................................................................0#
!.%% ,sing the >avigator.........................................................................................................................05
!.%! Track F: =asics................................................................................................................................05
!.%0 ,sing the Cupplied F: Presets..........................................................................................................0R
!.%& Controlling Track F:.........................................................................................................................&"
!.%Q Creating a Default F: Chain.............................................................................................................&%
!.%O ,sing an F: =us..............................................................................................................................&!
!.%# $naly;ing F: Performance................................................................................................................&&
!.%5 Celections and Noops.......................................................................................................................&Q
!.%R anaging Time and Noop Celections.................................................................................................&O
!.!" >avigating by Tumping.....................................................................................................................&#
!.!% Time and Noop Celections and the Transport =ar...............................................................................&#
!.!! )tem >ames, =uttons and )cons.......................................................................................................&5
!.!0 '($P(' 'outing (ssentials...............................................................................................................&5
!.!& The 'outing atri+..........................................................................................................................&R
!.!Q Docking and Floating.......................................................................................................................Q"
!.!O The ,ndo Listory <indow................................................................................................................Q%
Q
Up and Running: A REAPER User Guide v 4.72
!.!# Beeping a <indow on Top................................................................................................................Q%
!.!5 ultiple Pro?ect Tabs........................................................................................................................Q!
!.!R Apening ultiple Pro?ect Tabs Together............................................................................................Q!
!.0" anaging the Play Cursor................................................................................................................Q!
@ Recording %i# REAPER.....................................................................................................A@
0.% Creating a >ew Pro?ect......................................................................................................................Q0
0.! Cetting edia Pro?ect Aptions............................................................................................................Q&
0.0 Caving the Pro?ect File.......................................................................................................................Q&
0.& Creating and >aming Tracks...............................................................................................................QQ
0.Q To Prepare and 'ecord Ane Track.......................................................................................................QQ
0.O To Prepare and 'ecord ultiple Tracks................................................................................................QO
0.# $uto $rming Tracks...........................................................................................................................Q#
0.5 ,sing the etronome........................................................................................................................Q#
0.R 'ecording Ctereo Tracks....................................................................................................................Q5
0.%" ulti-Channel 'ecording..................................................................................................................Q5
0.%% Track Templates..............................................................................................................................QR
0.%! )mporting an (+isting Pro?ect...........................................................................................................QR
0.%0 Pro?ect Templates............................................................................................................................QR
0.%& Nayered 'ecording...........................................................................................................................O"
0.%Q Averdubbing and Punch 'ecording...................................................................................................O%
0.%O >on-Destructive Punch 'ecording.....................................................................................................O%
0.%# Destructive Punch 'ecording............................................................................................................O!
0.%5 Fades and Crossfades......................................................................................................................O!
0.%R 'ecording ultiple Takes..................................................................................................................O!
0.!" Chowing Takes in Nanes...................................................................................................................O0
0.!% ,sing Color Coded Takes..................................................................................................................O0
0.!! <orking <ith ultiple Takes.............................................................................................................O&
0.!0 Averlapping )tems...........................................................................................................................O&
0.!& 'ecording ultiple $dditional )tems..................................................................................................OQ
0.!Q 'ecording with (mpty (vents...........................................................................................................OQ
0.!O 'ecording )D)...............................................................................................................................OO
0.!# Ather )D) 'ecording odes...........................................................................................................O5
0.!5 'ecording <ith a Pirtual )nstrument.................................................................................................O5
0.!R ,sing icrosoft .C <avetable C< Cynth...........................................................................................OR
0.0" Nooped Averdubbing and Nooped Time Celection 'ecording...............................................................OR
0.0% )mporting edia1 the edia (+plorer................................................................................................#"
0.0! Creating and ,sing a edia (+plorer Database..................................................................................#!
0.00 Cetting a Default edia (+plorer $ction............................................................................................#0
0.0& )mporting ultiple $udio Files..........................................................................................................#0
0.0Q )mporting Part of an $udio File ........................................................................................................#0
0.0O )mporting )D) Files........................................................................................................................#&
0.0# )mporting edia from $udio CD.......................................................................................................#&
0.05 'ecording with $udio F: Plug-ins.....................................................................................................#&
0.0R 'ecording a TrackHs Autput...............................................................................................................#Q
0.&" 'ecording F: An Their Awn.............................................................................................................#Q
0.&% 'ecording with (+ternal Lardware F:...............................................................................................#O
0.&! Preference Cettings for 'ecording.....................................................................................................#O
0.&0 Track Preferences for 'ecording.......................................................................................................##
0.&& 'ecording with i+ed Formats..........................................................................................................#5
0.&Q '($P(' $udio 'ecording Checklist...................................................................................................#5
0.&O 'ecording an )nternet $udio Ctream.................................................................................................#R
0.&# Converting $udio edia )tem Format................................................................................................5"
0.&5 edia File )mport Formats...............................................................................................................5"
4 Pro9ec Arrange'en 4asics...............................................................................................B"
&.% anaging Tracks...............................................................................................................................5%
&.! Track Control odifiers......................................................................................................................5!
O
&.0 Colo )n Front.....................................................................................................................................50
&.& Cearching the Preferences Cettings.....................................................................................................50
&.Q Track Colors......................................................................................................................................5&
&.O Color Themes....................................................................................................................................5&
&.# Track )cons.......................................................................................................................................5Q
&.5 Leadphone onitoring.......................................................................................................................5Q
&.R Creating a Leadphone i+.................................................................................................................5O
&.%" Displaying .rid Nines.......................................................................................................................5#
&.%% ,nderstanding Cends, =uses, Cubmi+es and Folders..........................................................................55
&.%! Track Folder (ssentials.....................................................................................................................5R
&.%!.% Drag and Drop Folder anagement........................................................................................R"
&.%!.! >ested Folders..................................................................................................................... R%
&.%0 Track and Track Parameter .rouping.................................................................................................R!
&.%0.% =asic Track .rouping............................................................................................................R!
&.%0.! Track .rouping atri+ =asic Controls......................................................................................R&
&.%0.0 Track .rouping )ndicators.....................................................................................................R&
&.%0.& aster and Clave .roup 'elationships....................................................................................R&
&.%0.Q Track .rouping <indow........................................................................................................RQ
&.%0.O Track .rouping <indow =asic Controls...................................................................................R#
&.%& P, eters on ultichannel Tracks.....................................................................................................R#
&.%Q $udio Togging and Ccrubbing...........................................................................................................R5
A 2anaging +rac& and /e' F7.............................................................................................CC
Q.% .rouping F:......................................................................................................................................RR
Q.! Plug-ins Cettings...............................................................................................................................%""
Q.0 =acking ,p F: Chains and F: Presets.................................................................................................%""
Q.& Filtering Track F:...............................................................................................................................%""
Q.Q Chowing PCT Folders.........................................................................................................................%"%
Q.O 'eplacing Ane F: <ith $nother..........................................................................................................%"%
Q.# Copying Track F:...............................................................................................................................%"%
Q.5 F: Euick Display...............................................................................................................................%"%
Q.R oving Track F:................................................................................................................................%"%
Q.%" Changing the Default F: >ame.........................................................................................................%"!
Q.%% 'enaming Track F: )nstances...........................................................................................................%"!
Q.%! ,sing Default F: Parameter Cettings.................................................................................................%"!
Q.%0 Per )tem F:.....................................................................................................................................%"!
Q.%& ,sing )tem F: with ultiple Takes....................................................................................................%"0
Q.%Q Aptimi;ing F: Performance..............................................................................................................%"&
Q.%O F: >otes and Comments..................................................................................................................%"&
Q.%# <et2Dry i+ and =ypass..................................................................................................................%"&
Q.%5 Plug-in Delay Compensation.............................................................................................................%"Q
Q.%R Apening a File in 'ecovery ode......................................................................................................%"Q
Q.!" Ctem 'endering...............................................................................................................................%"Q
Q.!% 'endering a .roup of Tracks to a Cingle Track...................................................................................%"O
Q.!! Free;ing and ,nfree;ing Tracks........................................................................................................%"O
Q.!0 $udio Cignal Flow Chart1 Tracks and Folders......................................................................................%"5
Q.!& $udio Cignal Flow Chart1 aster Track..............................................................................................%"R
Q.!Q Lardware Autput F: onitoring.......................................................................................................%"R
Q.!O Pertical2Lori;ontal F: Tree Display....................................................................................................%%"
Q.!# Track Templates 'evisited................................................................................................................%%"
Q.!5 'ea(ffects ,ser .uide Cupplement...................................................................................................%%"
? Ediing +rac&s and /e's................................................................................................."""
O.% ,sing an (+ternal (ditor....................................................................................................................%%%
O.! (diting )tems in '($P('....................................................................................................................%%%
O.0 '($P('9s Cmart (diting.....................................................................................................................%%!
O.& Ctandard <indows (diting.................................................................................................................%%0
O.Q (diting =ehavior Preferences..............................................................................................................%%Q
#
Up and Running: A REAPER User Guide v 4.72
O.O Ceparating Noop Celection From Time Celection...................................................................................%%Q
O.# Cnapping with Combined Cnap2.rid Cettings.......................................................................................%%O
O.5 Cnapping with Ceparate Cnap and .rid Cettings..................................................................................%%O
O.R Trim =ehind <hen (diting..................................................................................................................%%#
O.%" The >udge2Cet )tems <indow..........................................................................................................%%5
O.%% edia )tem Properties......................................................................................................................%%R
O.%! edia )tem )cons............................................................................................................................%!"
O.%0 )tem >otes......................................................................................................................................%!"
O.%& Coloring )ndividual )tems.................................................................................................................%!%
O.%Q $d?usting )tem Polume.....................................................................................................................%!%
O.%Q.% The )tem Polume Bnob2)tem Polume Landle...........................................................................%!%
O.%Q.! The Polume Fader................................................................................................................ %!!
O.%Q.0 >ormali;ing )tems................................................................................................................%!!
O.%O Changing )tem Channel ode..........................................................................................................%!!
O.%# Take Cource Properties....................................................................................................................%!0
O.%5 '($P(' (diting and $uditioning (+ample..........................................................................................%!0
O.%R (diting ultiple edia )tems............................................................................................................%!Q
O.!" Clip (diting......................................................................................................................................%!O
O.!% $d?usting Fades...............................................................................................................................%!O
O.!! Crossfades and the Crossfade (ditor.................................................................................................%!#
O.!0 Crop Pro?ect to Celection..................................................................................................................%!R
O.!& .rouping )tems...............................................................................................................................%0"
O.!Q Ctoring and 'ecalling )tem .roups....................................................................................................%0%
O.!O .lue Celected )tems.........................................................................................................................%0%
O.!# Creating and Copying )tems in Pencil ode.......................................................................................%0!
O.!5 )nsert Cpace at Time Celection.........................................................................................................%00
O.!R 'ipple (diting..................................................................................................................................%00
O.0" Trim to Celected $rea.......................................................................................................................%0&
O.0% Free )tem Positioning.......................................................................................................................%0&
O.0! ouse odifiers..............................................................................................................................%0Q
O.00 Dynamic Cplitting - 'emove Cilent Passages......................................................................................%0#
O.0& C<C (+tensions...............................................................................................................................%05
7 Arranging> 8o'ping and Ediing +a&es..........................................................................."@C
#.% (+ploding Takes to ultiple Tracks......................................................................................................%0R
#.! Crossfades with Takes........................................................................................................................%&"
#.0 (+ploding Takes in Place....................................................................................................................%&"
#.& Play $ll Takes....................................................................................................................................%&"
#.Q (diting and Comping ultiple Takes....................................................................................................%&%
#.O ore Take Commands and $ctions......................................................................................................%&&
#.# anaging Comps with the Pro?ect =ay................................................................................................%&Q
B ,oops> 2ar&ers and Regions............................................................................................"47
5.% Creating Noops..................................................................................................................................%&#
5.! Creating and >avigating with arkers.................................................................................................%&5
5.0 Time Celection Ctart2(nd arkers.......................................................................................................%&R
5.& Cnapping to arkers..........................................................................................................................%&R
5.Q 'emoving arkers.............................................................................................................................%Q"
5.O arker $ctions..................................................................................................................................%Q"
5.# Creating and ,sing 'egions...............................................................................................................%Q%
5.5 The 'egion anager.........................................................................................................................%Q!
5.R Pro?ect =uilding with 'egions.............................................................................................................%Q0
5.%" Changing the Pro?ect Timebase........................................................................................................%Q0
5.%% arkers and edia Cues..................................................................................................................%Q0
5.%! Tempo =ased usic Production........................................................................................................%Q&
5.%!.% Time =ased usic =asics.......................................................................................................%Q&
5.%0 Pro?ect Cettings...............................................................................................................................%QQ
5.%0.% $udio edia )tem Properties.................................................................................................%QO
5
5.%0.! Creating a Noop from a Time Celection...................................................................................%QO
5.%0.0 Creating a Noop from Transients............................................................................................%QO
5.%0.& Transient Detection Cettings..................................................................................................%Q#
5.%0.Q =eat Correction.................................................................................................................... %Q#
5.%0.O Euanti;ing )tems.................................................................................................................. %Q5
5.%& Dynamic Cplitting............................................................................................................................%Q5
5.%&.% Cplitting a edia )tem into Camples.......................................................................................%QR
5.%&.! Changing the Pro?ect Tempo..................................................................................................%O%
5.%&.0 Creating a Chromatic )D) )tem............................................................................................%O%
5.%&.& Caving and ,sing Camples....................................................................................................%O%
5.%Q '(: File Cupport..............................................................................................................................%O!
C Pic# and +i'e 2anipu-aion..........................................................................................."?@
R.% Changing Pitch for )ndividual edia )tems..........................................................................................%O0
R.! ,sing 'eaPitch..................................................................................................................................%O&
R.0 ,sing 'eaPitch with ultiple Tracks....................................................................................................%OQ
R.& )nstrument Tuning with 'eaTune........................................................................................................%OQ
R.Q Pitch Correction with 'eaTune............................................................................................................%OO
R.O Changing the Pro?ect Play 'ate..........................................................................................................%OO
R.# Time Ctretching.................................................................................................................................%O#
R.5 Ctretch arkers.................................................................................................................................%O5
R.R ,sing Time Cignature2Tempo Change arkers.....................................................................................%#"
"! +#e REAPER 2i3er and 2aser......................................................................................"7"
%".% )ntroduction....................................................................................................................................%#%
%".! i+er Commands.............................................................................................................................%#%
%".0 i+er Nayouts and Ccreensets..........................................................................................................%#%
%".& i+er enu Commands and Aptions.................................................................................................%#!
%".Q Chowing and Liding Types of i+er Tracks........................................................................................%#0
%".O <orking with F: in the i+er............................................................................................................%#0
%".# <orking with Cends in the i+er.......................................................................................................%#O
%".5 Chowing Track )cons in the i+er.....................................................................................................%##
%".R anaging the i+er.........................................................................................................................%##
%".%" Track Control enus......................................................................................................................%#R
%".%% )ntroducing <indows Ccreen Cets...................................................................................................%5"
%".%! i+er $ppearance Preferences........................................................................................................%5%
%".%0 Ctereo and Dual Panning................................................................................................................%5!
%".%& aster Track Aptions and Cettings..................................................................................................%5&
%".%Q aster Lardware Autputs..............................................................................................................%5&
%".%O aster Track Channels...................................................................................................................%5Q
%".%# $voiding Channel Neakage..............................................................................................................%5O
%".%5 'eset P, eter Peaks....................................................................................................................%5O
"" Pro9ec 2anage'en Feaures......................................................................................."B7
%%.% )ntroduction....................................................................................................................................%5#
%%.! Cetting the Pro?ect Ctart Time..........................................................................................................%5#
%%.0 Nocking edia )tems........................................................................................................................%55
%%.& Nocking Track Controls.....................................................................................................................%55
%%.Q Pro?ect Nock Cettings.......................................................................................................................%5R
%%.O Customi;ing Colors and Fonts...........................................................................................................%R"
%%.# The Pro?ect edia2F: =ay................................................................................................................%R%
%%.5 The Track anager..........................................................................................................................%RQ
%%.R Track Piew Ccreen Cets....................................................................................................................%R#
%%.%" <indows Ccreensets......................................................................................................................%RR
%%.%% $uto Caving Ccreen Cets................................................................................................................!""
%%.%! )tem Celection Cets........................................................................................................................!""
%%.%0 Track, i+er, Transport and (nvelope Nayouts.................................................................................!"%
%%.%& Further Pro?ect F: anagement.....................................................................................................!"!
%%.%Q Track Control Panel and enu =ar Lelp...........................................................................................!"&
R
Up and Running: A REAPER User Guide v 4.72
%%.%O ,sing ultiple Dockers...................................................................................................................!"&
%%.%# Caving >ew Pro?ect Persions...........................................................................................................!"O
%%.%5 ultiple Pro?ect =ackup Persions.....................................................................................................!"O
%%.%R $ssociating 'endered <$P Files with Cource Pro?ect Files................................................................!"O
"2 2anipu-aing and Ediing 2/6/ /e's...........................................................................2!7
%!.% )ntroduction....................................................................................................................................!"#
%!.! onitoring an (+ternal Cynthesi;er...................................................................................................!"#
%!.0 ,sing Track Controls with )D)........................................................................................................!"#
%!.& Controlling )D) Data Cends............................................................................................................!"#
%!.Q $ccessing the )D) (ditor................................................................................................................!"5
%!.O The )D) (ditor <indow..................................................................................................................!"5
%!.# Control Change essages................................................................................................................!%%
%!.5 Control Channel =asics.....................................................................................................................!%!
%!.R <orking with )D) (ditor Nanes.......................................................................................................!%!
%!.R.% Cyse+ (vents........................................................................................................................ !%!
%!.R.! Te+t (vents.......................................................................................................................... !%0
%!.R.0 =ank2Program Celect............................................................................................................!%0
%!.%" ,sing )D) CC Nanes1 Tips and Tricks.............................................................................................!%0
%!.%".% .eneral CC Nane (diting TechniGues.....................................................................................!%0
%!.%".! 'ight Click arGuee Celection..............................................................................................!%&
%!.%".0 )ntelligent CC Nane Dropdown Nist........................................................................................!%&
%!.%".& %&-bit CC Nanes and $ctions................................................................................................!%&
%!.%".Q 'esi;ing CC Nane Leight......................................................................................................!%&
%!.%% Noop2Time Celections and Cmart (diting.........................................................................................!%Q
%!.%! >avigating the )D) (ditor ain <indow........................................................................................!%Q
%!.%0 =asic >ote Celection and anipulation............................................................................................!%O
%!.%& The )D) (ditor enus..................................................................................................................!%O
%!.%Q >ote Creating and (diting..............................................................................................................!!"
%!.%O ,sing the Beyboard........................................................................................................................!!!
%!.%# .eneral )D) Program Patches.......................................................................................................!!0
%!.%5 )D) Preview Ccrub.......................................................................................................................!!0
%!.%R )D) (ditor odes and Piews.........................................................................................................!!0
%!.%R.% >ote odes.......................................................................................................................!!0
%!.%R.! >ote Ctyles........................................................................................................................ !!Q
%!.!" Euanti;ing )D) Data....................................................................................................................!!Q
%!.!% )nput Euanti;ation.........................................................................................................................!!#
%!.!! Lumani;e >otes............................................................................................................................!!#
%!.!0 F0 - The Panic =utton....................................................................................................................!!#
%!.!& ,sing the )D) (ditor1 a =asic (+ercise...........................................................................................!!5
%!.!Q <orking with ultiple )D) Tracks and2or )tems @AverviewD............................................................!!R
%!.!O anaging ultiple )D) Tracks and )tems.......................................................................................!0%
%!.!# (diting ultiple )D) )tems............................................................................................................!0!
%!.!5 )D) (ditor ouse odifiers..........................................................................................................!00
%!.!R )D) (ditor $ctions........................................................................................................................!0&
%!.0" )n-Nine )D) (diting......................................................................................................................!0O
%!.0% Copying )D) )tems in $rrange Piew..............................................................................................!0O
%!.0! Toining )D) )tems........................................................................................................................!0#
%!.00 (+porting Pro?ect )D)...................................................................................................................!05
%!.0& Feedback 'outing with )D) Tracks................................................................................................!05
%!.0Q )D) 'outing, )D) =uses and 'e<ire............................................................................................!05
%!.0O Come )D) Plug-ins.......................................................................................................................!0R
%!.0# )D) Controlled Pitch Chift with 'eaPoice........................................................................................!&"
%!.05 )D) Preferences Cettings..............................................................................................................!&%
%!.0R 'eaControl)D).............................................................................................................................!&!
%!.&" TC1 ):2)D)M'outer.......................................................................................................................!&!
%!.&% The Ccale Finder............................................................................................................................!&0
%"
%!.&! <orking with Piano 'oll Cynced to Pro?ect $rrange Piew..................................................................!&0
%!.&0 CeGuencer egababy.....................................................................................................................!&0
%!.&& ,sing )D) CC essages to Control F: Presets................................................................................!&Q
"@ 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus and +oo-bars...................................247
%0.% )ntroduction....................................................................................................................................!&#
%0.! '($P(' $ctions (ssentials...............................................................................................................!&#
%0.0 The $ction Nist (ditor (nvironment...................................................................................................!&5
%0.& Creating a >ew Beyboard Chortcut...................................................................................................!Q%
%0.Q 'emoving an (+isting Chortcut.........................................................................................................!Q!
%0.O Changing an (+isting Bey $ssignment...............................................................................................!Q!
%0.# (+amples of Possible Cimple Beystroke $ssignments..........................................................................!Q0
%0.5 Beyboard Chortcuts for 'ecording.....................................................................................................!Q0
%0.R Beyboard Chortcuts for the )D) (ditor.............................................................................................!Q&
%0.%" Beyboard Chortcuts for the edia (+plorer......................................................................................!Q&
%0.%% $ssigning $ctions to the ousewheel..............................................................................................!QQ
%0.%! (+porting and )mporting Beyboard Chortcuts...................................................................................!QQ
%0.%0 Creating Custom $ction acros......................................................................................................!QQ
%0.%& )D) (ditor Custom acros............................................................................................................!Q#
%0.%Q )mporting Ccripts...........................................................................................................................!Q#
%0.%O ,sing a Control Device with '($P('...............................................................................................!Q5
%0.%# eta $ctions.................................................................................................................................!O"
%0.%5 ouse odifiers............................................................................................................................!O%
%0.%R Caving and 'estoring ouse odifier Cettings.................................................................................!O0
%0.!" )D) (ditor ouse odifiers..........................................................................................................!O0
%0.!% Customi;ing the '($P(' enus.....................................................................................................!O&
%0.!! Customi;ing the '($P(' Toolbars...................................................................................................!OO
%0.!0 Creating $dditional Custom Toolbars...............................................................................................!OR
%0.!& Creating Cmart Tools......................................................................................................................!#"
"4 REAPER P-ug-ins in Acion.............................................................................................27"
%&.% <hat $re Plug-ins3..........................................................................................................................!#%
%&.! The Three Naws of Plug-ins..............................................................................................................!#%
%&.0 The Five Types of Plug-in.................................................................................................................!#%
%&.& $d?usting Plug-in Parameter Controls................................................................................................!#!
%&.Q Cound Chaping (ffects1 'ea(E.........................................................................................................!#!
%&.O Time =ased (ffects1 Delay................................................................................................................!#0
%&.# Polume Changing Plug-ins1 the Nimiter..............................................................................................!#&
%&.5 $nalytical Plug-ins1 the .F:$naly;er.................................................................................................!#Q
%&.R ,sing F: Presets..............................................................................................................................!#Q
%&.%" Time =ased (ffects1 'eaPerb..........................................................................................................!#O
%&.%% Polume Control with Compression1 'eaComp...................................................................................!#5
%&.%! NAC('Hs Transients Plug-ins............................................................................................................!#R
%&.%0 Niteon9s De-(sser...........................................................................................................................!#R
%&.%& Polume Control with a >oise .ate...................................................................................................!#R
%&.%Q Cstillwell Chorus and Delay (ffects..................................................................................................!5"
%&.%O >oise 'eduction with 'eaFir...........................................................................................................!5%
%&.%# ultiband Compression with 'ea:Comp..........................................................................................!5!
%&.%5 NAC('Hs TimeDifference Pan...........................................................................................................!5&
%&.%R NAC('Hs (+citer..............................................................................................................................!5&
%&.!" CCTillwell9s Luge=ooty...................................................................................................................!5&
%&.!% Come ,nusual TC Plug-ins..............................................................................................................!5&
%&.!%.% ,tility2bufsave.................................................................................................................... !5&
%&.!%.! Cstillwell2thunderkick..........................................................................................................!5Q
%&.!%.0 'emaincalmMorg2tonegate...................................................................................................!5Q
%&.!! Come .uitar F: Plug-ins.................................................................................................................!5O
%&.!0 Come Ather '($P(' TC Plug-ins.....................................................................................................!5O
%&.!& )nstalling (+tra TC Plug-ins.............................................................................................................!5R
%%
Up and Running: A REAPER User Guide v 4.72
%&.!Q Cpecifying PCT Plug-in 'un ode....................................................................................................!5R
%&.!O Third Party Plug-in Presets ............................................................................................................!5R
%&.!# Nosing the .raphic ,ser )nterface @.,)D..........................................................................................!R"
"A 2ore REAPER Rouing E3a'p-es...................................................................................2C"
%Q.% Controlled =leed..............................................................................................................................!R%
%Q.! Cplitting Channels............................................................................................................................!R!
%Q.0 Full and Fat Pocals with 'eaDelay.....................................................................................................!R&
%Q.& '($P(' Cend Types.........................................................................................................................!RQ
%Q.Q Channel Cplitting and Pitch Chifting..................................................................................................!RO
%Q.O $udio Ducking.................................................................................................................................!R#
%Q.# Double Ducking...............................................................................................................................!RR
%Q.5 ,sing PC$ for Track Polume Control..................................................................................................0""
%Q.R 'eaCamplomatic and 'eaDrums.......................................................................................................0"%
%Q.%" 'ound-'obin ultisampling............................................................................................................0"0
%Q.%% ulti Autput PCTi Plug-ins..............................................................................................................0"&
%Q.%! Parallel F: Processing with the Channel i+ers................................................................................0"Q
%Q.%0 ore Parallel F: Processing............................................................................................................0"#
%Q.%& Channel Cplitting and Parallel Processing with )tem F:.....................................................................0"#
%Q.%Q Ather Channel 'outing Plug-ins @AverviewD.....................................................................................0"#
%Q.%O '($P('Hs 'outing )nterface............................................................................................................0"5
%Q.%# ultichannel Track P, eters.........................................................................................................0"5
%Q.%5 Curround Panning with 'eaCurround...............................................................................................0"R
%Q.%R 'outing to2from Ather $pplications with 'e<ire..............................................................................0%%
%Q.!" )ntroducing 'ea'oute....................................................................................................................0%!
"? Auo'aion %i# Enve-opes...........................................................................................@"@
%O.% ,nderstanding $utomation...............................................................................................................0%0
%O.! $utomation (nvelope ethods.........................................................................................................0%0
%O.0 The Track (nvelopes <indow...........................................................................................................0%&
%O.& $vailable Track and Cend (nvelopes..................................................................................................0%&
%O.Q <riting $utomation..........................................................................................................................0%Q
%O.O (nvelope Points Aptions...................................................................................................................0%O
%O.# <riting ute $utomation.................................................................................................................0%#
%O.5 $utomation odes...........................................................................................................................0%#
%O.R .lobal $utomation Averride.............................................................................................................0%5
%O.%" The (nvelope Panel Controls..........................................................................................................0%5
%O.%% anually $d?usting (nvelopes.........................................................................................................0%R
%O.%! ,sing the ouse with (nvelopes.....................................................................................................0!"
%O.%0 (nvelope (dit ouse odifiers.......................................................................................................0!"
%O.%& anaging $utomation (nvelope Display..........................................................................................0!%
%O.%Q The (nvelope Panel Controls..........................................................................................................0!!
%O.%O anaging and anipulating (nvelopes............................................................................................0!0
%O.%# (nvelope Chapes...........................................................................................................................0!&
%O.%5 (nvelopes in Track Templates.........................................................................................................0!&
%O.%R (nvelope Preferences.....................................................................................................................0!Q
%O.!" ,sing an (nvelopes Toolbar............................................................................................................0!Q
%O.!% $utomation <ith .rouped Track Parameters....................................................................................0!O
%O.!! oving and Copying (nvelopes with )tems......................................................................................0!O
%O.!0 $utomation with Track Cends.........................................................................................................0!#
%O.!& $utomation with F: Parameters......................................................................................................0!5
%O.!Q F: Parameter $utomation in Nearn ode.........................................................................................0!R
%O.!O $utomating a PCT with )D) CC essages......................................................................................0!R
%O.!# $utomating F: Parameters on the Fly.............................................................................................00"
%O.!5 $utomation with )tems and Takes...................................................................................................00"
%O.!R $utomation with Lardware Autput Cends........................................................................................00"
%O.0" $utomating $utomation.................................................................................................................00%
%O.0% $ctions for anaging (nvelopes.....................................................................................................00%
%!
%O.0! $utomating the etronome............................................................................................................00%
%O.00 ,sing the Tempo2Time Cignature and Play Cpeed (nvelopes............................................................00!
%O.0& Nocking (nvelopes.........................................................................................................................00!
"7 Auo'aion %i# Para'eer 2odu-aion.......................................................................@@@
%#.% The Concept....................................................................................................................................000
%#.! The )nterface..................................................................................................................................000
%#.0 Defining a Parameter for odulation.................................................................................................00&
%#.& Defining a Parameter for odification...............................................................................................00O
%#.Q Parameter odulation with $udio Control..........................................................................................00O
%#.O ,sing an NFA Chape with Parameter odulation................................................................................005
%#.# ,sing Parameter odulation for Dynamic Compression......................................................................00R
%#.5 =ypass ode...................................................................................................................................0&"
%#.R Parameter odulation ,nder Parameter Control.................................................................................0&"
%#.%" ,sing Parameter odulation with an (nvelope.................................................................................0&%
%#.%% Parameter odulation under Cidechain $udio Control.......................................................................0&!
%#.%! Further $pplications.......................................................................................................................0&0
"B E3poring Fi-es> 2i3ing 6o%n and Rendering................................................................@4A
%5.% )ntroduction....................................................................................................................................0&Q
%5.! =atch File Conversion.......................................................................................................................0&Q
%5.0 Consolidating and (+porting.............................................................................................................0&O
%5.& 'endering $ Pro?ect.........................................................................................................................0&#
%5.Q 'endering a Finished Cong...............................................................................................................0Q"
%5.O =atch 'endering..............................................................................................................................0Q"
%5.# 'endering Celected edia )tems.......................................................................................................0Q%
%5.5 'endering 'egions...........................................................................................................................0Q%
%5.R =urning an $udio CD with '($P('...................................................................................................0Q0
%5.%" Caving Nive Autput to Disk.............................................................................................................0QQ
%5.%% ,sing Presets................................................................................................................................0QO
%5.%! 'endering in Curround Format........................................................................................................0QO
"C REAPER;s Preferences and (#er 5eings ...................................................................@A7
%R.% )ntroduction....................................................................................................................................0Q#
%R.! .eneral Preferences.........................................................................................................................0Q#
%R.!.% )mport and (+port Configuration............................................................................................0Q5
%R.!.! Paths and Beyboards............................................................................................................0QR
%R.0 ain Pro?ect Preferences..................................................................................................................0QR
%R.0.% Pro?ect Track2Cend Defaults ..................................................................................................0O"
%R.0.! edia )tem Defaults.............................................................................................................0O%
%R.& $udio Configuration and Cettings......................................................................................................0O%
%R.Q $udio Preferences............................................................................................................................0O0
%R.Q.% $udio =uffering ................................................................................................................... 0O&
%R.Q.! $udio Playback..................................................................................................................... 0OQ
%R.Q.0 $udio Ceeking...................................................................................................................... 0OQ
%R.Q.& $udio 'ecording................................................................................................................... 0OQ
%R.Q.Q $udio Noop 'ecording...........................................................................................................0OO
%R.Q.O $udio 'endering .................................................................................................................. 0OO
%R.O $ppearance Preferences...................................................................................................................0OO
%R.O.% $ppearance edia................................................................................................................ 0O#
%R.O.! $ppearance, Peaks2<aveforms..............................................................................................0O5
%R.O.0 $ppearance Fades2Crossfades...............................................................................................0OR
%R.O.& $ppearance, Track Control Panels..........................................................................................0OR
%R.O.Q $ppearance, Theme (ditor....................................................................................................0OR
%R.# (diting =ehavior Preferences............................................................................................................0#"
%R.#.% (diting =ehavior, (nvelope Display.........................................................................................0#%
%R.#.! (diting =ehavior, $utomation.................................................................................................0#!
%R.#.0 (diting =ehavior, ouse Preferences.......................................................................................0#0
%R.#.& (diting Preferences, )D) (ditor............................................................................................0#&
%0
Up and Running: A REAPER User Guide v 4.72
%R.5 edia Preferences..........................................................................................................................0#Q
%R.5.% edia, )D) Preferences.......................................................................................................0#O
%R.5.! edia, Pideo2'(:2isc Preferences........................................................................................0#O
%R.R Plug-ins Preferences........................................................................................................................0##
%R.R.% Plug-ins, Compatibility..........................................................................................................0##
%R.R.! Plug-ins, PCT ......................................................................................................................0##
%R.R.0 Plug-ins, 'e<ire2D: ............................................................................................................0##
%R.R.& Plug-ins, 'eaCcript ..............................................................................................................0##
%R.R.Q Plug-ins, 'eaote ............................................................................................................... 0##
%R.%" Custom ,) Tweaks.........................................................................................................................0#5
%R.%% Pro?ect and File anagement.........................................................................................................0#5
%R.%! Customi;ing the Performance eter................................................................................................0#R
%R.%0 Customi;ing ,ndo Listory =ehavior.................................................................................................0#R
%R.%& 'eset '($P(' Default Cettings.......................................................................................................05"
%R.%Q Come Ather '($P(' Aptions..........................................................................................................05"
2! 2ain Rig#-8-ic& 8one3 2enus 5u''ary...................................................................@B"
!".% The Track Control Panel Conte+t enu..............................................................................................05%
!".! The (mpty Track Nist $rea Conte+t enu..........................................................................................05!
!".0 The Timeline and 'uler Conte+t enu..............................................................................................05!
!".& The edia )tems Conte+t enu........................................................................................................050
!".Q The edia )tems Conte+t Cub-enus................................................................................................05&
!".O The 'ecord $rm Conte+t enu.........................................................................................................05O
!".# The (nvelopes Conte+t enu...........................................................................................................05#
!".5 The Transport =ar Conte+t enu......................................................................................................055
!".R The 'outing atri+ Conte+t enu.....................................................................................................05R
!".%" The F: <indow Conte+t enu........................................................................................................05R
!".%% The edia (+plorer Conte+t enu..................................................................................................0R"
!".%! The )D) )n-Nine (ditor and )D) (ditor Conte+t enus..................................................................0R%
2" Using REAPER %i# (#er App-icaions and 6evices.....................................................@C@
!%.% <hat is 'ea'oute3..........................................................................................................................0R0
!%.! Cetting ,p $pplications for 'ea'oute................................................................................................0R&
!%.0 Cending $udio from '($P(' to $nother $pplication...........................................................................0RQ
!%.& Cending $udio From $nother D$< $pp to '($P('............................................................................0R#
!%.Q ,sing '($P(' <ith a Cynth <orkstation...........................................................................................0R5
!%.O Cyncing to an (+ternal Device..........................................................................................................0RR
!%.# .enerating and Cending Timecode...................................................................................................&""
22 5o'e (#er REAPER Feaures E(vervie%F....................................................................4!"
!!.% '($P(' and Pideo...........................................................................................................................&"%
!!.! 'eaCcript........................................................................................................................................&"!
!!.0 'eaote.........................................................................................................................................&"!
!!.& '($P(' and >)>T$.......................................................................................................................&"!
2@ +roub-es#ooing REAPER...............................................................................................4!@
!0.% )nput2Autput )ssues........................................................................................................................&"0
!0.! '($P(' )nterface )ssues..................................................................................................................&"Q
!0.0 Troubleshooting 'ecord odes and onitoring..................................................................................&"O
/nde3..................................................................................................................................4!C
%&
5u''ary ,is of 5ep by 5ep E3ercises =.
$s well as e+planations of '($P('9s 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 below1
Creating a default F: chain.............................................&%
Nayered recording..........................................................O"
>on-destructive punch recording....................................O%
'ecording multiple takes................................................O!
'ecording a )D) track..................................................OO
'ecording with e+ternal hardware F:..............................#O
Creating and using track folders......................................5R
Creating an F: bus.........................................................R"
Track and track parameter grouping................................R0
aster2slave grouping....................................................RQ
The track grouping window............................................RQ
Copying track F:..........................................................%"%
(diting and auditioning media items..............................%!&
.rouping media items..................................................%0"
Creating and using markers..........................................%&R
Creating and using regions...........................................%Q%
,sing media cues.........................................................%Q&
<orking with F: in the i+er........................................%#Q
,sing the width2stereo panner......................................%5!
aster track channels @advancedD.................................%5Q
Track view screen sets..................................................%R#
)D) Pitch shift with 'eaPoice......................................!&"
Creating a custom keyboard shortcut............................!Q%
Creating keyboard shortcuts for recording.....................!Q0
Creating a custom action macro....................................!QO
Customising mouse modifiers........................................!O!
Customising '($P('9s menus.......................................!OO
Create Custom Toolbar.................................................!O5
Creating a custom toolbar.............................................!#"
,sing sound shaping F: @)ntroD.....................................!#!
,sing time based F: @)ntroD..........................................!#&
,sing a limiter @)ntroD...................................................!#&
,sing reverb @)ntroD.....................................................!#O
,sing a compressor @)ntroD...........................................!#5
,sing a noise gate @)ntroD.............................................!5"
,sing noise reduction plug-ins @)ntroD............................!5%
,sing a multiband compressor @)ntroD...........................!5!
Cimple track routing.....................................................!R%
Channnel splitting and parallel F: processing.................!R!
Parallel F: processing @)ntermediateD............................!R&
Cidechaining and ducking.............................................!R#
Double ducking @$dvancedD..........................................!RR
'eaCamplomatic and 'eaDrums....................................0"%
,sing multi-output virtual instruments...........................0"&
Parallel F: processing @$dvancedD.................................0"Q
<riting automation envelopes.......................................0%Q
(diting automation envelopes @!D..................................0%R
$utomating track sends................................................0!#
$utomating F: parameters...........................................0!5
Parameter modulation with audio control.......................00O
Parameter modulation for dynamic compression............00R
Parameter modulation under parameter control.............0&"
Parameter modulation with sidechain control.................0&!
,sing 'ea'oute @%D......................................................0RQ
,sing 'ea'oute @!D......................................................0R#
,sing '($P(' with a synth workstation.........................0R5
5u''ary ,is of 2ain +ab-es =.
This ,ser .uide includes many instructional and summary tables. )n addition to those in Chapter %R @'($P('9s Preferences
and Ather CettingsD and Chapter !" @'ight-click Conte+t enu CummariesD, the most important of these are1
'($P('9s )nstall Aptions..................................................%5
)nstalled File and Folder Nocations....................................!O
'($P(' File Types...........................................................0"
Transport =ar Functions...................................................0&
>avigating and Sooming Chortcuts....................................0O
Track F: anagement......................................................&"
Noop and Time Celection Chortcuts...................................&O
Takes anagement..........................................................O&
$udio 'ecording Checklist................................................#5
Coloring Tracks................................................................5&
)tem F: anagement.....................................................%"0
ove2>udge )tems........................................................%%&
arGuee odifiers.........................................................%%&
Take Cets and Comp anagement @%D.............................%&!
Take Cets and Comp anagement @!D.............................%&0
Take $ctions..................................................................%&&
arkers.........................................................................%&5
'egions.........................................................................%Q%
anaging F: in the i+er...............................................%#0
anaging Cends in the i+er..........................................%#O
<indows Ccreen Cets.....................................................%5"
,sing multiple dockers...................................................!"Q
Commonly used CC messages........................................!%%
)D) (ditor1 Beyboard Chortcuts.....................................!!!
anaging Custom $ction acros.....................................!QO
Customising the '($P(' enus......................................!O&
Customising the ain Toolbar.........................................!O#
.uitar F: Plug-ins..........................................................!5O
Cample TC Plug-ins.........................................................!5O
Channel 'outing Plug-ins................................................0"#
Track Parameter and Cend (nvelopes..............................0%&
$utomation odes.........................................................0%5
(diting (nvelopes...........................................................0!"
anaging $utomation Display.........................................0!%
anipulating (nvelopes..................................................0!0
Parameter odulation....................................................00&
Pro?ect 'endering (+amples...........................................0&R
Troubleshooting '($P('................................................&"0
'ecord odes and onitoring.........................................&"#
%Q
Up and Running: A REAPER User Guide v 4.72
%O
" - 5eing Up and Geing 5ared
" 5eing Up and Geing 5ared
"." 6o%n-oading REAPER
To download '($P(', visit the download page http122www.cockos.com2reaper2download.php. 'ead the on-
screen information carefully @especially about 0! bit and O& bitD and be sure to select the correct version for
your computer. )f you keep the program for more than O" days then you must purchase a license. To purchase
your '($P(' license, go to http122www.cockos.com2reaper2purchase.php
$fter downloading you will need to install the program. There are differences in the installation process for AC :
@acD and for <indows @PCD.
".2 /nsa--ing REAPER on an (5 7 2ac
To install '($P(' on a ac @AC :D follow this procedure.
%. Double-click on the '($P(' disk image @.dmgD file to
open it.
!. )f you agree to accept the licence conditions, click on
Agree to open this file.
0. Drag and drop the '($P(' icon @shown rightD into
your App-icaions folder.
&. )f you also want to install Rea2oe, 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 $pplications folder on to the Dock.
<e strongly recommend that you should also, under
5yse' Preferences, ensure that for your 2ouse right
click is enabled as a secondary button.
".@ /nsa--ing REAPER on a )indo%s P8
To install '($P(' on a PC with <indows you should follow this seGuence1
%. )n <indows (+plorer, find
the install file. The file
name includes the current
version number, e.g.
reaper4!-insa--.e3e.
!. Double click on this file to
start the install program.
0. Click the / Agree button
to accept the conditions
and continue.
&. For a normal install,
accept the default folder
offered to you @but see
note belowD - for
e+ample, 8:GProgra'
Fi-esGREAPER.
Q. )f you need to, enable the
Porab-e insa-- option
@see note belowD, then
click <e3.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
%#
Up and Running: A REAPER User Guide v 4.72
O. Celect which elements you wish to install @if in doubt accept the default settings - see also section %.&
belowD and click on /nsa--.
#. <ait while the program installs. <hen prompted, click on 8-ose to close the )nstall program. Jou will be
asked if you wish to run the program now1 in this case, choose <o.
<oe: )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 0.++ version, change the default directory @e.g. to U'($P('&D and enable
portable install. This will ensure that your earlier 0.++ settings and preferences will be preserved separately.
+ip: )f you choose not to install any '($P(' program elements or options, you can later change your mind by
simply running the install program again.
".4 +#e /nsa-- (pions 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. Nisted below is a summary of your main options. =y default, most of them are
enabled.
/e' E3p-anaion
Audio Processing P-ug-ins This is a collection of $udio and )D) F: that is supplied with '($P(' F
such as a Compressor, a >oise .ate and a Cynthesi;er. ,sually you
should make sure this option is ticked.
8o'pressed Fi-e 5uppor This allows you to work with file formats such as P0, A..,, FN$C and
<avPack as well as Pideo files.
8uso'iDaions This allows for the use of (uropean keyboards and offers you the option
to later choose any of a number of color schemes for '($P('.
Addiiona- Funciona-iy This allows you to install elements such as the edia (+plorer, CD
'ipping2=urning, Control Curface Cupport 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 $C)A driver, nor 'e<ire nor 'eaote. This makes for
simpler options when audio routing. Jou can always add these later.
6es&op /con Neaving this option selected ensures that a '($P(' shortcut icon will be
placed on your <indows desktop.
5ar 2enu 5#orcus Neave this option ticked to ensure that '($P(' is added to your <indows
Ctart enu.
Associae %i# RPP Fi-es Ticking this option will enable you to open '($P(' with any of your
'($P(' Pro?ect files direct from <indows (+plorer or any desktop
shortcut that you might create for your pro?ects.
".A REAPER 5of%are Updaes
'($P(' is updated freGuently and regularly, with bug fi+es, new features and other enhancements. Jou can
check for updates at any time by visiting #p:$$%%%.reaper.f'$ Cimply download and install. There is no
need to first uninstall any previous version. (+isting preferences and settings will automatically be carried over.
+ip1 '($P(' is freGuently updated. $n option is
available under (pions> Preferences> Genera-
@Ctartup CettingsD to have '($P(' automatically check
for updates each time the program is started @provided
of course that you are on-line at the timeD. =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#ed0
%5
" - 5eing Up and Geing 5ared
".? Enab-ing 2P@ Recording
)f you are intending to record and2or mi+ down your recordings in, or convert other recorded material to, P0
format, you will need to install an P0 encoder. $ suitable encoder is N$(, which is available free of charge.
This can be obtained from any of many web sites, including http122aegiscorp.free.fr2lame2
$fter downloading, ac users should un;ip the file and then drag the dynamic library file @named something like
-ib'p@-a'e.dy-ibD 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
8:GProgra' Fi-esGREAPER. )t can also be copied to other applications that may need it @e.g. $udacityD.
".7 5aring REAPER
To start '($P(', ?ust double click on the '($P(' desktop icon. Jou might also wish to
consider creating a keyboard shortcut for this. For <indows users, this is done using the
5#orcu tab of the icon9s Properies dialog bo+. 'ight-click over the icon to display this.
".B REAPER 5arup +ips
=y default, '($P(' opens with the last used pro?ect. $s you will see in Chapter %R @under Preferences,
.eneralD, you can change this behavior if you wish. )n addition, you can use hot keys when starting '($P(' to
override the default settings.
Acion 4ooser HeyEsF
Apen '($P(' without loading last pro?ect. 5#if @while starting '($P('D
Apen '($P(' without loading any default pro?ect template. 8r- 5#if @while starting '($P('D
".C REAPER 5e-ecions> 8onro-s and 8o''ands
<orking in '($P(' involves making selections and giving commands. For e+ample, to copy a single item you
would select the item @usually using your mouseD and then give the command for '($P(' to copy it. Ather
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 F you would only need to
give the necessary command. There are four main methods commonly used to give commands in '($P('1
2e#od 8o''en
+#e 2ain 2enu $s with other applications, this is accessed by the mouse or keyboard.
8one3 2enus 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.
+oo-bars Click your mouse on any toolbar button for its command to be e+ecuted.
Heyboard
5#orcus
any commands and actions can be accessed by keyboard shortcuts. Jou can also
assign own shortcuts to other commands and actions. Chapter %0 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 @<indowsD shortcuts. ac users should
refer to this summary table of similarities and differences1
P8 E)indo%sF Hey
Chift
Control
$lt
<indows
2ac E(5 7F Hey EIuiva-en
Chift
Command
Aption
Control
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
%R
Up and Running: A REAPER User Guide v 4.72
"."! +#e REAPER 5creen
'($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 @but not necessarily identicalD 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 E3p-anaion
+#e 2enu 4ar This displays the 2ain 2enu near the top as a row of commands F Fi-e> Edi>
Vie%> /nser> /e'> +rac& and so on. $s in other ac and <indows
applications, the menu is used to give commands.
+#e 2ain +oo-bar Tust 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. Lowever, as with other programs, you can hover your
mouse over any button to obtain a tooltip @see e+ample, leftD.
)n Chapter %0 you will be shown how you can customi;e this toolbar.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
!"
" - 5eing Up and Geing 5ared
E-e'en E3p-anaion
+#e +i'e-ine 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 @topD and minutes and seconds @belowD.
+#e Arrange Area:
2ain )indo% and
)or&p-ace0
This is to the right of the Track Control Panel. )t displays the actual media items
@audio and2or )D)D that make up your tracks. )n this e+ample, there is one
'edia ie'.
Pideo items can also be included, but that is beyond the scope of this guide.
+#e +rac& 8onro-
Pane- E+8PF
This area is used to control the behavior of your audio and )D) tracks F in this
e+ample there is one track, labelled usic. Af 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. <e9ll get to what these
controls do and how they are used in Chapters ! and &. Tooltips are available for
each of these @see e+ample, leftD.
+#e +ranspor 4ar
This is used to control recording and playback F for e+ample, to start and stop
recording. <e9ll look at this in Chapter !.
+#e 2i3er and 2i3er
8onro- Pane-
This is displayed @in this e+ampleD across the bottom of the screen.
)t displays your tracks in a different way. )n this e+ample one track is shown1
this is the same track as is shown in the TCP.
>otice that this also includes a 2aser 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 %".
DonHt be surprised if your screen doesnHt look Guite the same as this, or even if it looks a lot different. The
'($P(' screen can be customi;ed to suit your individual needs. <eHll be covering this in Cection !.
"."" +#e +rac& and +rac& 8onro-s
)f you9ve used other D$< software before you9ll
probably want to get to grips with '($P('9s track
controls as soon as possible.
This illustration shows the most commonly used of
these. )n most cases you click on a control to use it @for
e+ample, click on ute button to toggle mute status of
any track, click and drag on Polume control to ad?ust
the volume levelD, and right click on the control for a
menu of commands, options and2or settings.
>ewcomers to digital audio, don9t worry. $ll of these
controls wil be e+plained in detail as you progress thru
this guide.
"."2 5eing Up For Audio
=efore you can record or play anything, there are a few setup options that have to be specified. This section
covers setting up audio. This is where you tell '($P(' which audio device@sD you have, and how you wish to
use them. There are differences in how you should do this for a ac under AC : and a PC under <indows
)n addition, it is also advisable to disable 5yse' 5ounds. For AC : users, this is done in Cystem Preferences.
<indows users should use the Control Panel.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!%
Up and Running: A REAPER User Guide v 4.72
"."2." 5eing Up For Audio EP8 )indo%sF
To set up your $udio
Device, first choose
the (pions>
Preferences
command from
'($P('9s ain enu,
then under Audio
select 6evice from
the list on the left.
)f on the other hand
you plan to use the
PC9s internal sound
card, you should
familiari;e yourself
with its control
software @usually
opened from the
<indows Control
PanelD. 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. Jou should also consider using $C)A&$NN drivers, which are available free of
charge. For more information, see en.wikipedia.org2wiki2$udioMCtreamM)nput2Autput
An the $udio Device Preferences screen, you should set the following options1
/e' 8o''en
Audio 5yse' The other items on this screen will vary with the audio system selected . Choose A5/(
and A5/( drivers if they are available for your sound card or Firewire or ,C= device.
Enab-e /npus This option needs to be turned on @tickedD if you wish to use '($P(' for recording.
/npu Range )f your device has multiple inputs, specify the first and last of these that you want to
be available. )n this e+ample, eight inputs are available. This enables up to eight
microphones or lines @in any combinationD to be used simultaneously for recording.
(upu Range )f your device has multiple outputs, specify the first and last that you wish to be
available. ,sually, your $CT(' bus will direct output to a single pair of outputs, but
you can use the others also if you wish.
ReIues sa'p-e
rae$b-oc& siDe
Jou can set sample rate and block si;e either here or using your sound card9s own
control software. )f unsure, start with &&%"" and Q%!.
A5/(
8onfiguraion
Clicking this button gives you direct access to the Control Coftware for your sound card
or other audio device.
Audio +#read
Prioriy
$ssigning a higher priority will ensure that audio threads will be processed ahead of
other threads @e.g. graphicsD.
"."2.2 5eing Up For Audio E2ac (5 7F
$udio devices on the AC : are set up and selected in the AC : Audio 2/6/ 5eup. ake sure you have first
downloaded and installed the latest ac updates Jou should also check your $udio Device in '($P('. To do
this, start '($P(' and choose the (pions> Preferences command from '($P('9s ain enu, then under
Audio select 6evice from the list of headers in the column on the left.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
!!
" - 5eing Up and Geing 5ared
)n the first e+ample shown below, a ,C= Caffire device @a Focusrite Caffire Pro &"D has been installed. Caffire
has therefore been selected so as to ensure that this device is used for both input and output. Jou can @as
shown hereD set the sample rate and block si;e @which helps determine latencyD here, or you can independently
open the device9s own control panel and set them there. )f unsure, set these at &&%"" and Q%! to begin with.
)f you wish to use the
ac9s 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. Apen the AC :
Audio 2/6/ 5eup
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('9s Audio> 6evice
preferences screen, select your
aggregate device and App-y your
changes. Jou will now be able to use
your headphones with the computer9s
audio out socket and your microphone
with its audio in socket.
"."@ /npu A-iasing
'($P(' supports /npu A-iasing. This is the ability to give your own names to your audio inputs. )t can be
used to shorten the long names that the system will often give to these inputs, especially when your device
supports multiple inputs. $n e+ample of the use of this feature might be to change names like Ana-og /n "
6e-a "!"! E"F, Ana-og /n 2 6e-a "!"! E"F and so on to ?ust 2ic$,ine ", 2ic$,ine 2, etc.
)nput $liasing is accessed from the Audio Preferences screen. Celect /npu 8#anne- <a'e
A-iasing$Re'apping. The method is similar to that used for output aliasing F see section below.
"."4 (upu A-iasing
'($P(' also supports (upu A-iasing. This enables you to give
names to your audio outputs, names that make sense to you. This is
especially useful if your sound card or other audio device provides
multiple outputs. For e+ample, one pair of outputs might be connected
to your control room monitors, another to studio monitors, and a third
pair to a multi-output headphone monitor.
=y default, your outputs will have names something like those shown
here @above rightD. Clearly, these names are not very useful to you.
=y assigning aliases to these outputs, you can ensure that whenever you need to list them @for e+ample, when
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!0
Up and Running: A REAPER User Guide v 4.72
determining the destination of the output from your asterD your own names will be displayed, instead of the
hardware device names.
E3a'p-e
To create output aliases1
%. Choose the (pions> Preferences command.
!. Display the Audio page and in the
section labelled 8#anne-
<a'ing$2apping make sure you have
ticked the option (upu 8#anne-
<a'e A-iasing @this is almost the last
item on this screenD.
0. Click on the Edi <a'es$2ap 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 (upu 8#anne- A-ias$2apping
window @rightD.
Q. Click on (H to close this window and
return to the Preferences dialog bo+.
O. Click on (H to close the Preferences dialog bo+.
Jour specified names should now automatically be used throughout '($P('. The topic of actually assigning
outputs to tracks will be covered later, beginning with Chapter !.
"."A 5eing Up For 2/6/
)f you intend to
use )D) at all,
you should enable
your )D) devices.
any PC) sound
cards, Firewire and
,C= audio devices
include a )D)
input and output
port @for use, for
e+ample, with a
)D) BeyboardD.
Choose (pions>
Preferences from
the ain enu,
then display the
2/6/ 6evices
screen under
Audio. Jou can
select in turn each
of the listed )D)
)nput and Autput
devices, right-
click over its
name, then
choose Enab-e /npu. Jou can double-click on any input device name to display its 8onfigure 2/6/ /npu
settings @see below rightD. This enables you to assign your own name @or aliasD for the device, or to specify your
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
!&
" - 5eing Up and Geing 5ared
advanced timestamp options @if reGuiredD. Jou can also Enab-e inpu for conro- 'essages if you wish to
use the device as a )D) controller F see also Chapter %0.
To assign your own name or to specify a time offset for any )D) )nput or Autput device, right click over the
device name and choose 8onfigure (upu from the conte+t menu. .
)f you have a ?oystick that you wish to use with '($P(' you
should click on the Add 9oysic& 2/6/ button then select the
device name and processing mode. Jou can also specify
whether you wish to use it for Pirtual )D) Beyboard input
an2or as a )D) control2learn device.
)f you wish to use a Control Curface, such as a =ehringer
=CF!""" or =C'!""", with '($P(', then you should set its
input mode to 8onro- (n-y. The use of Control Devices will
be e+plained later in this guide, notably in Chapters %% and %0.
(#er Audio Preferences
Jou can see that there are other $udio Preference screens that
we have not yet e+amined, including 4uffering, P-aybac&
and Recording. These will be dealt with later in this ,ser
.uide, particularly in Chapter %R. <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 V5+ P-ug-ins
ThereHs one further
Preferences screen
you will probably
want to visit before
you get started F
V5+ P-ug-ins. $s
with $udio
Preferences,
'($P(' has several
pages of Plug-in
Preference screens,
but these can @at
first at leastD be left
to their default
settings. Lowever, if
you already have a
collection of PCT
and2or PCTi Plug-
ins on your
computer, '($P('
needs to be told
where to find them.
To do this, choose
the (pions>
Preferences
command, then select V5+ under the P-ug-ins section.
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!Q
Up and Running: A REAPER User Guide v 4.72
Jou can leave most settings as they are @at least for nowD, but you may need to click on the Add button to
specify the location@sD of the folder@sD where your PCT plug-ins are stored.
AC : uses two 6built in7 folders for installing shared plug-ins. These are K$,ibrary$Audio$P-ug-/ns and
K$Users$Lyour accounM$,ibrary$Audio$P-ug-/ns. '($P(' will scan these by default1 you should,
however, check that they are automatically listed as your PCT plug-in paths. )f not, you should add them.
<indows does not locate any such folders for you. Jou will need to identify and specify where your PCT plug-ins
have been installed. )f your PCT plug-ins are spread across more than one folder @this is not unusualD, you will
need to use the Add button several times, each time selecting one of your folders. ,se the (H button in the
4ro%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 PCT and PCTi folder@sD available immediately. '($P(' will
also scan any subfolders.
'($P(' will automatically scan your PCT folders each time the program is launched. Jou can also return to this
screen at any time and add more PCT folders later. Cpecify the e+tra location@sD of your PCT plug-ins, then Re-
scan then App-y then (H to close this screen and cause your new settings to be remembered. Jou can find
more information about the various PCT Preferences settings and options in Chapter %R.
"."7 REAPERNs /nsa--ed Fo-ders and Fi-e ,ocaion
REAPERNs /nsa--ed Fo-ders and Fi-e ,ocaions
+#e Regisry
E)indo%s on-yF
<indows users note1 '($P(' does not store any install data, settings or
preferences in your <indows 'egistry. <indows will set up an item for
'($P(' under LB(JM NAC$NM$CL)>(, Coftware but it contains no data
other than keeping a record of your file movements in 'egistry areas such
as its 2U/8ac#e and creating file associations, so that you can open .'PP
files @for e+ample, in <indows (+plorerD by double-clicking on them.
+#e REAPER /nsa--
6irecory O (5 7
AC : installs '($P(' to its App-icaions folder.
Copy any PDF files @such as this ,ser .uideD that you want to be able to
access from '($P('9s Lelp enu to1
Luserna'eM$,ibrary$App-icaion 5uppor$REAPER
<ith some versions @e.g. NionD you may need to hold down the Aptions key
while displaying the .o menu to make this path accessible.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
!O
" - 5eing Up and Geing 5ared
REAPERNs /nsa--ed Fo-ders and Fi-e ,ocaions
+#e REAPER /nsa--
6irecory - )indo%s
=y default, '($P(' on <indows installs to 8:GProgra' Fi-esGREAPER
Copy into this directory any PDF files @such as this ,ser .uideD that you
want to be able to access from '($P('9s Lelp enu.
Come of the optional install items are held in sub-folders of 8:GProgra'
Fi-esGREAPER. These include the CACBAC 'eaPlug PCT plug-ins and @if
installedD the C<C (+tensions. $nything stored in this directory is accessible
to all users of '($P(' on this computer.
ost '($P(' features @such as configuration files and custom settingsD are
placed into an $pplications Data or $ppData folder. The location of this will
depend upon which version of <indows you are using.
+#e App-icaion 6aa$
5uppor 6irecory
To access the '($P(' $ppData or $pplication Cupport folder, choose
(pions> 5#o% REAPER resource pa#... from '($P('9s main menu.
Come of the main items you can e+pect to find there are listed below.
5ub 6irecories Jou should find that you have a number of sub-directories here, such as1
8o-or +#e'es
8onfiguraions
8ursors
6aa
Effecs
F78#ains
Hey2aps
2enu5es
Preses
Pro9ec 4ays
Pro9ec+e'p-aes
PueuedRenders
5crips
+rac&+e'p-aes
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 enuCets 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 6aa directory includes track icons and toolbar
icons. The Effecs folder is where your TC effects are stored.
prese-vs-p-ugna'e.ini For each PCT plug-in, a separate file is used to store any presets that you
have created or imported.
REAPER.ini This includes all of your Aptions, Preferences settings, information about
your last screen layout, and your recently used pro?ects history.
reaper-d3p-ug-ins.ini
reaper-vsp-ug-ins.ini
These files store information about your installed plug-ins.
reaper-reginfo.da
reaper-reginfo.ini
Ctore your product registration data
reaper-recenf3.ini This file stores a list of your recently used F:1 this list is used to produce the
'ecently ,sed F: submenu that is available in the i+er.
screenses.ini This file stores details of your windows screen sets. >ote that track screen
sets are stored with the relevant .'PP file.
5pecify 6efau- Pa#s for
Recording and Rendering
Jou can use the Genera-> Pa#s page of your (pions> Preferences to
specify default paths for your recorded media items. >ote however that any
path specified in your Pro?ect Cettings will take precedence over this.
Jou can also specify default paths for your waveform peak files and for
pro?ect rendering.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!#
Up and Running: A REAPER User Guide v 4.72
ThereHs 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('Hs pro?ect files, with .'PP e+tension. Af 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. Lowever, you should never try
to use a te+t editing program to open, view or edit any file ending in .app, .d'g, .e3e or .d--
"."B ,oca-iDaion and ,anguage Pac&s
Celecting a language pack causes '($P(' to use that language for its menus, dialog bo+es, tool tips, and so on.
The default language is ,.C. (nglish. Nanguage packs are managed from the Genera- page of '($P('9s
Preferences.
To see what language packs are available, and to download any, click on the link 6o%n-oad -anguage pac&s
@see belowD. This will take you to a ,'N where you can follow the links @including to '($P(' CtashD to find your
language. $fter downloading, close the Preferences window and use the command (pions> 5#o% REAPER
resource pa# in E3p-orer$Finder to display '($P('9s resource folders. >e+t, drag and drop the downloaded
file@sD into the NangPack folder.
To select a language pack other than
,.C. (nglish, select from the drop
down list @rightD and click on (H. Jou
will need to restart '($P(' for the
language to take effect.
"."C 4ac&ing Up 5eings
)n this chapter you have been introduced to some of '($P('9s settings and preferences. $s you progress, you
will find many more. Jou 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 %R under the heading 6)mport and (+port
Configuration.7 Don9t be concerned if you do not yet understand the meaning of many of the options. Tust 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. Low 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 ,C= flash drive.
".2! Running REAPER
on a F-as# 6rive
Jou can install '($P(' on a ,C=
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
,C= Ctick @or e+ternal driveD 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
AC : and <indows users.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
!5
" - 5eing Up and Geing 5ared
(5 7
%. )nsert the flash drive into a ,C= port. Create a new folder on this flash drive, e.g. '($P('&. )n this folder
create an empty te+t file called reaper.ini
!. Apen the ac folder containing the '($P(' disk image @.dmgD file1 this will most likely be Downloads.
0. 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 ,C= port on your PC. >ote its drive letter @e.g. (1, F1. .1, L1.
)1. etc.D. This will depend how many internal hard drives, disk partitions, e+ternal hard drives, DPD
burners, etc. you have already installed.
!. Double click on the '($P(' install file to start the install process.
0. Click on / Agree to accept the license agreement. The Choose )nstall Nocation window will be displayed.
&. (nable the option for Porab-e insa--.
Q. Click on 4ro%se. Celect your flash drive and click on 2a&e <e% Fo-der. >ame the folder @e.g. '($P('D
and press Ener.
O. An 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 Guite a few minutes.
".2" REAPER 5ar 2enu (pions 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. Lowever, for times when you
do not wish to do this, you should also be aware of other options available from the <indows 5ar menu.
Click on the 5ar button, then A-- Progra's then REAPER to be presented with a flyout menu of choices1
2enu 8o''and E3p-anaion
/nsa-- REAPER o U54 &ey This can be used to install '($P(' to a Flash drive or similar device.
Lowever, the method described earlier in this Chapter is simpler*
Rea2oe 5-ave The use of Rea2oe is beyond the scope of this ,ser .uide. Lowever,
you can read an overview in Cection !!.
REAPER Ctarts '($P(' normally, with last pro?ect.
REAPER Ecreae ne% pro9ecF Ctarts '($P(' with a new pro?ect file.
REAPER Erese configuraion o
facory defau-sF
Ctarts '($P(' and resets all settings, options and preferences to factory
defaults. ,se this with caution*
REAPER ERe)ire s-ave 'odeF Apens '($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 %Q.
REAPER Es#o% audio
configuraion on sarupF
Ctarts '($P(' with the $udio settings Preferences page.
REAPER ,icense Displays Nicense information.
Uninsa-- REAPER ,ninstalls '($P('. )f you need to uninstall '($P(' for any reason, you
should always use this method.
)#asne%.3 Apens 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 /0" go to ,U,U.co'
!R
Up and Running: A REAPER User Guide v 4.72
".22 REAPER Fi-e +ypes
Nike any other program, '($P(' creates a series of files that it uses to store your work. Come of the main file
types and their purposes are described in the table below, along with other useful information.
Fi-e +ype E3a'p-e E3p-anaion
.RPP
'($P(' Pro?ect File
A-one.RPP 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.
.RPP-ba&
Pro?ect =ackup File
A-one.RPP-ba& <hen you save an e+isting pro?ect file, the previous version
is saved with the .'PP-bak e+tension. Jou can recover a
pro?ect from its previous state by opening the backup file.
.RPP-U<6(
,ndo Listory File
A-one.RPP-U<6( 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 5eings section of the Genera-
settings in your (pions> Preferences window. This topic
is e+plained more fully in Chapter !.
.reapea&s
'($P(' Peaks File
Vo3.%av.reapea&s These files contain the information necessary to enable
'($P(' to draw the waveforms etc. on your media items.
.reapinde3
'($P(' Peaks File
Vo3.%av.reapinde3 These files contain inde+ information about your individual
media items.
".2@ Pops and 8-ic&s
Jou9re 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 Guick fi+, try
ad?usting the block si;e @Preferences, $udio, DeviceD, starting at %!5 and working up thru, !QO, Q%!, #O5 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 %R.& to learn more about this topic.
".24 Uninsa--ing REAPER
There is no need to uninstall your current version of '($P(' before installing a new one. Jour e+isting
installation will automatically be upgraded from the new installation. Lowever, should you wish to uninstall
'($P(' for any reason, AC : users should simply drag the '($P(' icon into Trash and then remove the folder
K$,ibrary$App-icaion 5uppor$REAPER.
<indows users should follow this procedure1
%. Click on the <indows 5ar button, then A-- Progra's, then REAPER then Uninsa-- REAPER.
!. <hen the '($P(' ,ninstall <i;ard is displayed, click on Uninsa--.
0. <hen the uninstall process is finished, click on 8-ose.
&. <hen prompted, choose .es if you wish to see which files have been left on your Lard 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.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
0"
2 - REAPER Pro9ec 4asics
2 REAPER Pro9ec 4asics
2." 5ecion (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.
2.2 (pening an E3ising Pro9ec
To open an e+isting '($P(' Pro?ect File, use the Fi-e> (pen Pro9ec command, or the keyboard shortcut 8r-
(. $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 Pro9ecs command. This causes a
list of up to the last %"" recently used pro?ect files to be displayed. Jou can then select any file from that list.
The Genera- page of your (pions> Preferences window offers a number of options. )n particular, you can1
anage your Undo preferences @see Chapter !D.
Cpecify whether or not you want the most recently used file automatically loaded when '($P(' is started.
,se the ,oad ,as Pro9ec on 5arup option for this.
Cpecify whether you want to Auo'aica--y 8#ec& for <e% Versions of REAPER on 5arup.
Determine the number of files displayed on the Recen pro9ec -is.
Ather .eneral Preferences settings are discussed and e+plained in Chapter %R.
>otice too the toggle command 8oninuous scro--ing on the (pions menu. )f disabled @the defaultD, 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$inde3.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. Jou 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 /0" go to ,U,U.co'
0%
Up and Running: A REAPER User Guide v 4.72
2.@ Pro9ec 5eings
(very '($P(' pro?ect has a number of settings that can be defined and changed to meet the reGuirements of
each individual pro?ect. The Pro9ec 5eings dialog bo+ is accessed by choosing the Fi-e> Pro9ec 5eings
command, or by using the keyboard
shortcut A- Ener. The dialog bo+ has
four pages of settings - Pro9ec 5eings,
2edia, Advanced and <oes. )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.
Pro9ec 5eings: Pro9ec 5eings
These include1
Pro9ec 5a'p-e Rae: for
e+ample, &&%"" L; @CD standardD
or &5""" L; @DPD standardD.
Aption to force the time signature to
beats or whole samples.
Pro?ect beas per 'inue and
i'e signaure.
ethod for setting the i'ebase
for items2envelopes markers and for
tempo2time sig - essentially you
have a choice of Time, =eats
@position, length rateD or =eats @position onlyD. Cee notes below.
Preferred Fra'e Rae.
Pro9ec sar time and measure.
Neave these at their defaults for
now. )n Chapter %% you9ll see when,
why and how to change them.
Playback and render resa'p-e
'odes.
6efau- 'ode and para'eer
o be used for pic# s#ifing.
<e9ll deal with these in Chapter R.
Pro9ec 5eings: 2edia
These include1
Pa#s @primary and secondaryD to
store media files. For e+ample, if
you specify 6$udio7 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 <$P
or P0, but there are others , e.g. $)FF, DDP, FN$C, A.. Porbis Pideo @.)FD and <avPack. (ach of these
comes with its own set of options and settings.
5eings and specifications for chosen recording format F e.g. for <$P files this includes =it Depth.
Preferred 'edia for'as when F: are applied, or items are glued or fro;en, and when media items are
rendered. $lso, default media format for pro9ec and regions. Jou have the same range of formats,
options and settings as you have for recording format.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
0!
2 - REAPER Pro9ec 4asics
Pro9ec 5eings: Advanced
/e' 2i3 4e#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& 'i3ing dep#. )f unsure,
leave at the default setting.
The option to allow feedbac& in
rouing. Feedback routing can be
useful for some advanced mi+ing
activities, but can be dangerous for
audio eGuipment. )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 pro9ec -eng#
and recording time.
Cpecifying 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'pensaion 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.
6efau- rac& pan 'ode. Jou have choice of pan modes, some mono, some stereo. Cee Chapter %".
+#e Pro9ec +i'ebase 5eings
The pro?ect timebase controls how media items, 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 4eas Eposiion> -eng#> raeF for items2envelopes2markers and 4eas for tempo2time
sig envelopes. For more information about the timebase, open the Acions -is @from '($P('9s main menuD
and run the action Pro9ec seings: i'ebase #e-p. For more about the $ctions Nist, see Chapter %0.
)t9s worth also noting that you can still over-ride the pro?ect timebase setting for individual tracks within your
pro?ect. To do this, select the track@sD and choose 5e rac& i'ebase from the track control panel conte+t
menu. To do this for an individual item, select the item then press F2 to display the )tem Properties dialog bo+.
Pro9ec 5eings: <oes
This very handy section lets you enter any notes and comments that you would like to be included with your
pro?ect file. Jou can specify that the notes should automatically be displayed each time the pro?ect is opened.
+ip: Jou can save all these settings as the defaults to be used for future new pro?ects. Af course, for any
individual pro?ects you can over-write your defaults.
2.4 6irecing Audio (upu
$udio output will by default go from your master to the first
available pair of outputs on your soundcard @usually outputs %
and !D, 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 Rouing 2ari3 @Vie%, Rouing 2ari3 or A- RD.
Jour available hardware outputs are displayed along the top
of the grid. Lere you can select and2or deselect any of the
available outputs.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
00
Up and Running: A REAPER User Guide v 4.72
2.A +#e +ranspor 4ar
)f the Transport =ar is not visible in your '($P(' window, use the Vie%> +ranspor command to display it, or
use the keyboard shortcut 8r- 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 follows1
Funcion 6efau- Heyboard 5#orcu
Re%ind o sar of pro9ec )
5op and re%ind o %#ere p-ay -as sared Eedi cursorF 5pace
P-ay 5pace
Pause E5op a curren posiion and 'ove edi cursorF 8r- 5pace
Go o end of pro9ec End
Record 8r- R
+ogg-e Repea E%#en a -oop #as been definedF R
To the left of the buttons is displayed the current pro?ect time. )n the above e+ample, this is %1!#.&!#. =elow
that are shown the start and end positions and length of any current i'e se-ecion. Time and loop selection
will be covered throughout this ,ser .uide, but especially in Chapters O and 5. $t the far left is the G-oba-
Auo'aion (verride feature1 we9ll revisit this in Chapter %O.
To the right of the control buttons is displayed a Rae 8onro- 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 4eas per 2inue setting. To
change the value of any edit bo+ @such as beats per minuteD 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 @upD or decrease
@downD the value. Ather useful Transport Control keys are listed in the table that follows.
Funcion 6efau- Heyboard 5#orcu
Go bac& a -i-e 8r- ,ef
Go for%ard a -i-e 8r- Rig#
P-ay E%i# -oop se-ecion s&ippingF A- 5pace
'ight clicking over the Transport =ar displays a conte+t menu. This may seem slightly intimidating at first. <e9ll
get to the more advanced stuff in Chapter 5, but for now ?ust notice that there are menu options available to1
Celect your preferred time display format.
Dock or ,ndock the transport in the ain
<indow. Jou can choose the main docker or
any of four other positions F 4e-o% arrange
vie%, Above ru-er, 4oo' of 'ain
%indo% or +op of 'ain %indo%.
5crubbing
The top of the edit cursor is marked by an upside down triangle. Jou 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 5#if key while you do this. )f you do
this when the pro?ect is not playing, it will have the effect of 6scrubbing7 your audio.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
0&
2 - REAPER Pro9ec 4asics
2.? +#e 4ig 8-oc&
,se the Vie%> 4ig 8-oc& command @or press A- 8D 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.
2.7 +rac& 8onro-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. ThatHs because no ad?ustments have been made to
the Polume 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 trackHs
vo-u'e. The smaller rotary to its right @positioned here at
centerD ad?usts the panning, sending the signal more to the left speaker or the right speaker as preferred.
(ach track may also contains a second rotary pan control @not shown hereD ?ust below the first pan control.
<hether this control is present @for stereo width controlD will depend on which pan mode and2or track layout is
selected @see Chapters %" and %%D. Ctereo 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 can1
Click and hold down the left mouse button over the fader, then drag in the direction reGuired, releasing
the mouse when finished. For rotary faders, drag up to rotate clockwise, down for anti-clockwise. Lold
8r- while doing this for more subtle ad?ustments.
Lover your mouse over the fader, use the Ccroll <heel to ad?ust the level down2up. To disable this
feature, go to (pions> Preferences> Ediing 4e#avior> 2ouse and select /gnore 'ouse%#ee- on
rac& pane- faders. ore about mouse behavior preferences can be found in Chapter %R.
'ight-clicking on the volume fader opens the routing dialog
bo+ @shown rightD. Jou can enter values as d= for volume
@e.g. -OD and as percentages for pan @e.g., !Q' for !QK rightD
and width directly into this bo+.
=y default, the volume and pan controls apply to a track9s
audio output. )f you want to use these to control its 2/6/
signal, right-click on the track number in the TCP, then choose
2/6/ rac& conro-s, then ,in& rac& vo-u'e pan o a--
2/6/ c#anne-s from the conte+t menu @see Chapter %!D.
+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 8r- while clicking in the Track control panel on each track
number reGuired. Then release 8r-. $ny fader or other movement will be applied to all selected tracks.
The two rightmost buttons on each trackHs control area have these functions1
2ue Toggles ute on2off for selected track@sD <oe1 =oth the ute and Colo controls can also
be used with modifier keys such as $lt and Ctrl
for various functions. Cee Chapter & for details.
5o-o Toggles Colo on2off selected track@sD
>otice that by default, track 5o-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
conro- button. This can be used to reverse track polarity.
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2.B Pan ,a% and Pan 2ode
Jou can also change the pan -a% for individual tracks. 'ight-clicking over
a trackHs pan fader opens a window where you can select from the list @in
a range "." d= to -O." dbD or type in your own value. $ negative setting
causes the signal at the center to be attenuated as panning increases.
The Gain co'pensaion Eboos pansF option can be enabled to cause
the signal9s audio strength to instead be boosted as it is panned.
$nother option is to select your preferred pan 'ode @see rightD. This is
Guite 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 F 5ereo ba-ance$'ono pan is the default @see
Pro?ect CettingsD. This is eGuivalent 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 %".
2.C <avigaion and Qoo'ing
<avigaing %i#in #e +rac& 8onro- Pane-
The following keyboard shortcuts can be used to navigate within the Track Control Panel1
Funcion Heysro&e
Go o ne3 rac&. 8r- A- 6o%n
Go o previous rac&. 8r- A- Up
Ad9using Pane- )id# %i# 2ouse
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.
Ad9using +rac& *eig# %i# 2ouse
Funcion Acion
Ad9us #eig# of sing-e rac&. 8-ic&$drag up$do%n on -o%er rac& boundary
Ad9us #eig# of se-eced rac&s. A- J c-ic&$drag up$do%n on -o%er rac& boundary
Ad9us #eig# of a-- rac&s. 8r- J c-ic&$drag up$do%n on any -o%er rac& boundary
Ad9us #eig# of a-- rac&s. 8-ic& and drag up$do%n be%een J and O sy'bo-s on
verica- scro--bar.
+ogg-ing +rac& *eig# %i# Heyboard or 2ouse
Funcion Heysro&e
Toggle between normal track height and minimised
track height, all tracks
R @this is the key immediately to the left of ",
usually directly above the +ab keyD.
Toggle between normal height and ma+imising
currently selected track.
K @on most keyboards, this is the 5#if key in
combination with the R keyD.
(+pand height of selected tracks, minimise all others.
Press again to restore all tracks to same height.
* @on most keyboards, this is the 5#if key in
combination with the " keyD.
inimise all tracks. S @on most keyboards, 5#if with the 2 keyD.
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2 - REAPER Pro9ec 4asics
Funcion Heysro&e
Toggles height of all tracks between minimised,
normal and ma+imised.
6oub-e c-ic& 'ouse on verica- scro-- bar
Qoo'ing /n and (u %i# #e Heyboard
The following keyboard shortcuts can be used for ;ooming within a pro?ect1
Funcion Heysro&e
Qoo' (u verica--y> decreasing rac& #eig# Page 6o%n
Qoo' /n verica--y> increasing rac& #eig# Page Up
Qoo' o curren i'e se-ecion 8r- <u' Pad J
Qoo' (u o enire pro9ec -eng# 8r- Page 6o%n
Qoo' (u #oriDona- - E#e 'inus signF
Qoo' /n #oriDona- J E#e p-us signF
Qoo' (u 'edia pea&s 5#if 6o%n
Qoo' /n 'edia pea&s 5#if Up
5cro--ing %i# #e Heyboard
The following keyboard shortcuts can be used for scrolling within a pro?ect1
Funcion Heysro&es
5cro-- Vie% do%n A- 6o%n
5cro-- Vie% up A- Up
5cro-- Vie% -ef A- ,ef
5cro-- Vie% rig# A- Rig#
Qoo'ing and 5cro--ing %i# #e 2ouse%#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.
4e#avior 2odifier Hey for 2ouse%#ee-
*oriDona- Qoo' @no modifierD <oe: '($P('9s ;oom center settings will determine
e+act ;oom behavior. These can be found in the
Ediing 4e#avior section of your Preferences. Cee
Chapter %R for more information.
Verica- Qoo' 8r-
*oriDona- 5cro-- A-
Verica- 5cro-- 8r- A-
Jou can change any default keyboard and mousewheel assignments. For e+ample, you could use ?ust the
Down and ,p arrows @without Ctrl $ltD to go to the ne+t or previous track, or the mousewheel without a
modifier to scroll rather than ;oom. Jou can also use other customi;ed mouse modifiers for ;ooming,
especially within the $rrange view and 'uler conte+ts. 2ouse 'odifiers are covered in Chapter %0.
+ip: 2a&ing and using a Doo'$navigae oo-bar. Sooming and navigating are activities that are
performed a lot. Jou might wish to consider making your own Soom2>avigate custom toolbar. )t isn9t as
complicated as it might sound. Low to create your own custom toolbars is e+plained in Chapter %0.
2."! Heyboard 5#orcu and 2ouse 6efau-s
Jou can use the command *e-p> Heybindings and 2ouse 2odifiers @or ?ust press 5#ifJF"D to open your
web browser with a list of '($P('9s mouse modifiers and keyboard shortcuts. $s you will see in Chapter %0,
you can also define your own mouse modifiers, keyboard shortcuts and action keys, so that your mouse and
keyboard behavior is determined by the conte+t in which you are using it.
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2."" Using #e <avigaor
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%>
<avigaor command.
The keys 8r- A- V can
be used to toggle the
>avigator display on and
off.
Jou can also use the
>avigator window to scroll
thru your pro?ect. Cimply
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. Ather ways of using
the <avigaor are1
Aciviy 2e#od
6efine ne% area o be disp-ayed in REAPER
%or&space.
*o-d do%n rig# 'ouse buon> drag and
re-ease
Reposiion recang-e and %or&space disp-ay area. ,ef c-ic& 'ouse
Reposiion and re-ocae p-ay cursor. 8r- ,ef 8-ic&
Use as in %or&space o scro-- and$or Doo'. 2ouse%#ee-
2."2 +rac& F7 4asics
Track F: @TC, PCT and Direct : as
well as PCTi and D:i, and, for
ac users, $,D can be added to
any track by directly inserting the
F: into the F: <indow for the
reGuired track. )n some
programs, these are known as
track inserts. $ good selection of
F: plug-ins is supplied with
'($P(', including Tesusonic and
Cockos effects. <e9ll be taking a
closer look at many of these
individually later in this ,ser
.uide, especially in Chapters Q and %&. For now, let9s ?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 procedure1
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
05
2 - REAPER Pro9ec 4asics
%. Click on the F: =utton in the Track Control Panel of the track to which you want to add the F:. This opens
the F: window for that track. )f the $dd F: window @see belowD is not automatically displayed, click on the
Add button to open it.
!. Celect a category, e.g. $ll
Plug-ins, D:, PCT, TC,
Cockos. $ll F: in that
category will be listed.
0. Double click on the
reGuired F: name.
&. To add more F:, click
on the Add button in
the Track F: window,
then repeat steps ! and
0 above.
<oe: <hen you add any
plug-in to any track9s F:
chain, that plug-in will then
be displayed in the F:
=rowser9s Recen-y Used F:
folder.
2."@ Using #e 5upp-ied F7 Preses
The e+cellent F: that are shipped with '($P(' can be used to improve the sound of your tracks. The use of
these F: is a huge topic. Jou will find many e+amples in Chapters %&, %Q and %O of this ,ser .uide. For more
detailed information and more advanced e+amples, you should
consider obtaining a copy of Rea2i3: 4rea&ing #e 4arriers
%i# REAPER which is available from the '($P(' =ookstore
at http122stores.lulu.com2store.php3f$cct)D4%0#&#5&
Lowever, 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, 8oc&os Rea6e-ay includes presets which as a
starting point you can try with your various tracks. Cimply
display the drop down list and select the item that you want
@e+ample shown rightD.
ost of the Cockos 'ea series of plug-ins include a number of
presets. Jou can e+plore these for yourself to discover what is
available. Af 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 F7 prese as #e defau- for #a F7
%. Celect the reGuired preset from the drop down list.
!. Click on the J button to the right of the list and choose 5ave
prese as defau- from the menu.
0. Type your own name for the preset and click on (H.
$s well as the presets supplied with '($P(', you can download further
sets by visiting http122stash.reaper.fm2 and following the link to F7
Prese ,ibraries.
To import downloaded presets into '($P(', follow this seGuence1
%. )nsert an instance of the plug-in into any track.
!. Click on the J button @?ust left of the Para' button in the F: Chain windowD.
0. Choose /'por Prese ,ibrary.
&. >avigate to and select the reGuired file then click on (pen.
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+o se-ec a prese %#en -oading an F7
%. Apen the track F: window and click on the Add button.
!. select the reGuired category @e.g. CockosD.
0. 'ight click on the reGuired F: @e.g. 'ea(ED.
&. From the conte+t menu, choose preses then select the reGuired preset @e.g. )ntimate female vocalD.
2."4 8onro--ing +rac& F7
'($P(' provides you with a number of tools to help you manage your Track F:. For e+ample, you can1
Change the order in which they are applied.
Copy or move any F: from one track to another.
Cave @and retrieveD any seGuence of F: as a chain that can be easily inserted into other tracks.
=ypass individual F: or an entire F: chain.
Cpecify a default set of F: to be automatically inserted into new tracks for your pro?ect.
+as& 2e#od
6oc& #e F7 8#ain Choose the F7> 6oc& F7 )indo% in 6oc&er command.
Ad9us #e va-ues for +rac& F7
para'eers
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 8r- key while you do this.
)f you prefer, select the control with the mouse, then use the
up2down keys on your keyboard.
Ad9us #e %e$dry 'i3 of any F7 Celect 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('9s F:
window interface, as
shown here.
$ setting of %""K
eGuals completely wet1
a setting of "K represents completely dry.
8#ange +rac& F7 (rder for a rac& Drag and drop F: name up or down within the Track F: window.
F-oa an F7 %indo% Double-click on the F: name in the F: Chain window @togglesD.
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+ample1 V5+:
ReaEP> +rac& " TVoca-U V2$@W,i.e. the !nd F: in a chain of 0.
Heep F7 or Add F7 %indo% on op Click on the pin symbol at right of title bar.
8-ose a f-oaing F7 %indo% Double-click on F: window title bar.
8opy an F7 fro' one rac& o
ano#er.
Lold down 8r-, drag the F: from the source track F: window and
drop on the track panel for any other track.
2ove an F7 fro' one rac& o
ano#er.
Lold down A-, drag the F: from the source track F: window and
drop on the track panel for any other track.
Rena'e an F7 /nsance Celect the F: name in the F: Chain and press F2.
4ypass an F7 ,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.
Rep-ace one F7 %i# ano#er Celect the F: in the F: chain, then press R. )n the 'eplace F:
window @now displayedD double-click on the reGuired replacement
F:. $ny e+isting routing configuration will be preserved.
2a&e #e curren +rac& F7 #e
defau- for ne% rac&s
<ithin the Track F: window, choose F7> 5ave 8#ain as defau-
for ne% rac&s.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
&"
2 - REAPER Pro9ec 4asics
+as& 2e#od
Re'ove an F7 fro' a rac& Celect the F: name within the Track F: window then click on the
Re'ove button.
Re'ove a-- F7 fro' a rac& Lold A- while clicking on the trackHs F: button in the TCP.
5earc# for an F7 (nter te+t in the Fi-er ,is at the bottom of the F: window.
5ave #e curren seIuence of +rac&
F7 as a c#ain
)n the Track F: window, choose the F7> 5ave F7 8#ain
command. F: parameter settings are saved with the chain.
5ave se-eced +rac& F7 as a c#ain Celect the names of the F: to be included in the chain @use Ctrl
key while clicking the mouseD, then choose F7> 5ave 5e-eced
F7 as 8#ain
Rerieve an e3ising previous-y
saved F7 8#ain
<ithin the Track F: window, choose F7> Add F7 8#ain
command, or within the TCP right-click over the F: button and
select Add F7 8#ain from the menu.
,oad your defau- F7 8#ain <ithin the Track F: window, choose F7> ,oad 6efau- +rac&
8#ain from the menu.
Access #e F7 Preferences seings <ithin the Track F: window, choose the (pions> F7 P-ug-in
5eings command. These are discussed in Chapter %R.
4ypass a-- F7 for a rac& )n the Track Control Panel, click on the
F7 Enab-e$6isab-e toggle button.
Click again to reverse this.
2."A 8reaing a 6efau- F7 8#ain
)f you have used other D$< software such as Conar, you might be
used to having an (E 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. Af course, this default chain can contain any F: that
you wish. To do this, you simply follow this procedure1
Apen the F: <indow for any track.
$dd the F: reGuired.
<ith the F: selected, right click and choose 5ave 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 reGuire any CP, usage until
such time as you open the F: window and enable them.
E3a'p-e
)n this e+ample, we will create a default F: chain that consists of
'ea(E and 'eaComp, both set to bypass mode.
%. Apen 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 F7 button for this track to open the F: <indow.
0. )n the first @leftD column of the $dd F: window, click on 8oc&os.
&. Celect in turn, first ReaEP E8oc&osF and then Rea8o'p E8oc&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.
Q. ake sure that both these F: are unticked F this sets them to bypass.
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O. 'ight click over one of the F: and from the conte+t menu, choose 5ave c#ain as defau- for ne%
rac&s.
#. Close the F: window.
5. Jou can now e+it '($P(' if you wish. There is no need to save the changes to the pro?ect file.
R. 'e-open '($P(' and open any pro?ect file.
%". )nsert a new track anywhere you wish in this pro?ect file.
%%. Apen the F: window for your new tracks. Jou should see that the two plug-ins, 'ea(E 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 @to remove itD with no plug-ins at all.
+ip: )f you hold down the 8r- 5#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.
2."? Using an F7 4us
)f you have used other D$< software, or an analog @tapeD recording and mi+ing desk, you are probably already
familiar with the concept of a 4us. The e+act meaning of the term can have several variations, but most
commonly @and in this e+ampleD, a =us is used to enable a number of tracks to share the same resource @such
as perhaps 'everb or Chorus F:D.
This saves on valuable computer resources such as CP,. For e+ample, instead of reGuiring 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 reGuired. >ote that when you use a =us in this way1
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 @and in
the e+ample shown hereD 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. Apen this file, then save a
copy to a new name such as A-- +#roug# +#e <ig# %i# 4us.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. Jou 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.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
&!
2 - REAPER Pro9ec 4asics
+o 8reae #e 4us and add #e F7 o i:
Celect track & @in the Track Control PanelD.
To insert a new track either choose the +rac&> /nser <e% +rac& command, or press 8r- ,+ 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 F7 4us then press Ener.
To insert the Chorus F: into this bus, click on the busHs F7 button. From the list of plug-in types, select
Tesusonic, then in the list of plug-ins double click on 15: Guiar$8#orus. Close the =us F: window.
+o 8reae 5ends fro' #e %o guiar rac&s o #e 4us:
Celect the two guitar tracks in the TCP. 'ight-click over the /( button for either of these tracks.
From the conte+t menu, choose 5ends then +rac& A: F7 4us.
>ote that for every send there is an eGuivalent receive, and vice versa. For e+ample, )f you now open the )A
'outing window for Track Q you will see that it has two receives, one from each guitar track. Jou9ll learn more
about '($P('9s routing later in this chapter @'outing (ssentialsD as well as in Chapter & and %Q.
2a&ing Ad9us'ens
<hen you now play the song, youHll probably find that thereHs 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 want1
%. $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.
0. 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 F7 4us.
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Up and Running: A REAPER User Guide v 4.72
5peed +ips
/n (rder +o 6o +#is ... 6o +#is
+ogg-e on$off send fro' rac& o
2aser
Lold A- while clicking on )A button. <orks with single track or
multiple track selection.
8reae a Iuic& send on #e f-y fro'
one rac& o ano#er.
Drag and drop from /( button of send track to the track panel
of receive track. This can also be done in the mi+er view. Cee
Chapter %" for a description of the full range of options.
5end a rac&;s oupu direc o any
#ard%are oupu.
'ight-click on )A button and select $udio Lardware Autput then
choose from sub-menu. This can be used with a track selection
and is independent of the track9s master send status.
2."7 Ana-yDing F7 Perfor'ance
F: plug-ins can impose a heavy load on your computerHs CP,. To
help you overcome this, you can use the Perfor'ance 2eer to
closely monitor your F: in the following ways1
Jou can check how much CP, is being used by the F: in
your various tracks and in the master.
Jou can disable and enable F: chains for individual tracks,
Guickly, easily and conveniently, all together in one place.
Jou can toggle on and off the mute status for your tracks,
again all in one convenient place.
To display the Performance eter, press 8r- A- P, or use the
Vie%> Perfor'ance 2eer command.
E3a'p-e
)n the e+ample shown @rightD, you can see that the F: are using
5.O&K CP, overall, and that the aster track with %0 plug-ins is
using &.%QK Jou 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. Jou 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 Piew. Jou can of course also toggle F: =ypass for any track, selection of tracks, or all
tracks in the +rac& Vie% or 2i3er Vie%. The table below summarises these options.
/n order o do #is = /n 2i3er or +rac& Vie%> do #is =
+ogg-e F7 4ypass (n$(ff for #a rac&. Click the F7 4ypass button for any track.
+ogg-e F7 4ypass (n$(ff for a-- rac&s in
#e se-ecion.
Celect a number of tracks @8r- 8-ic&D then click the F7
4ypass buon for any track in the selection.
+ogg-e F7 4ypass (n$(ff for a-- rac&s. Lold 8r- key while clicking F7 4ypass button for any track.
)n addition, the Performance eter has two right click menus, each with a number of options @see aboveD. The
first is accessed by right clicking in the track list area.
/n order o do #is = /n #e Perfor'ance 2eer %indo% do #is =
(pen F7 )indo% for #a rac&. 'ight click on track name, choose 5#o% F7 6ia-og.
+ogg-e F7 4ypass (n$(ff. 'ight click on track name, choose +ogg-e F7 4ypass.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
&&
2 - REAPER Pro9ec 4asics
/n order o do #is = /n #e Perfor'ance 2eer %indo% do #is =
+ogg-e rac& 'ue for #a rac&. 'ight click over any track, choose +ogg-e +rac& 2ue.
5#o% in$#ide fro' Perfor'ance 2eer
rac& -is rac&s %i# no F7.
'ight click on any track, enable2disable 5#o% rac& F7
%#en e'py.
5#o% in$#ide fro' Perfor'ance 2eer
'aser rac&$'onioring %#en #ese
#ave no F7.
'ight click on any track, enable2disable 5#o% 'aser F7
%#en e'py and2or 5#o% 'onioring F7 %#en
e'py.
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. Jou can also use this
menu to move the window to the docker.
+ip: Jou can select several tracks F using 8r- 8-ic& F then
right click over any of the selected track numbers in the
Performance eter window to Toggle F: bypass and2or Track
ute status for all tracks in the selection.
<oe: Jou can find more information about the '($P('
Performance eter in Cection %R of this guide, Further
Customi;ing '($P('.
2."B 5e-ecions and ,oops
Aften you will want to work with ?ust a part of your pro?ect for a while. )n order to do this, first check the
(pions menu to see if ,oop Poins ,in&ed o +i'e 5e-ecion is enabled. )f it is enabled @tickedD then
making a time selection and defining a loop are the same thing. )f it is disabled @not tickedD 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.
Ctop the playback at or near the point where you want your loop to begin @or click your mouse in the
background areaD to move the (dit Cursor there.
Place your
mouse over
the +i'e-ine
@?ust above
the first
trackD, 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. Cnapping will be discussed in detail in Chapter O, but for now you can use the shortcut
keys A- 5 to toggle this feature on and off.
+ip: To set the loop selection to match a media item, hold 8r- while you double click on that item. To set the
time selection to match a media item, hold 5#if while you double-click on the item.
>ow when you play the pro?ect, provided that the loop @toggle repeatD icon on the transport bar has been
engaged, it will replay over again the area selected for your Noop. 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 4ar. )n any event, pressing the R key toggles this 'epeat Function on and off. There is also the
option @under (pions> Preferences on the P-aybac& pageD 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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)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 here.
'ight clicking on the Timeline
then gives you a menu of
commands which you can
apply to a time selection,
including Qoo' 5e-ecion.
Jou can also use this menu to
change the units used on the
timeline F for e+ample,
2inues:5econds> 2easures:4eas>
2easures:4eas and 2inues:5econds>
2easures.4eas E'ini'a-F>
2easures.4eas E'ini'a-F and
2inues$5econds @as in the e+ample
above rightD, 5econds> 5a'p-es or
*ours:2inues:5econds:Fra'es.
any of these commands are shown in the
illustration @rightD - 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 8r- Pg6o%n.
There9s more about loops and time
selections elsewhere in this ,ser .uide, e.g. in Chapters O and 5.
2."C 2anaging +i'e and ,oop 5e-ecions
)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 (pions> ,oop poins
-in&ed o i'e se-ecion 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. JouHll probably find at
first that itHs 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-ecion 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. Lolding 8r- while you do this will ensure that any active snap settings
are ignored.
+o 'ove a -oop se-ecion, hold the mouse over the selected area on the time line, then hold down 5#if
while clicking and dragging the mouse left or right.
Jou can also modify a time selection by scrolling the mousewheel over
the Celection area of the +ranspor 4ar. Ccroll 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 5e-ecions, summarised below. )f
loop points are linked to the time selection, then the loop area will also be modified.
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2 - REAPER Pro9ec 4asics
Funcion Heysro&e
<udge Enire +i'e 5e-ecion -ef a -i-e. > Eco''aF
<udge Enire +i'e 5e-ecion rig# a -i-e. . Eperiod or fu-- sopF
E3end +i'e 5e-ecion o -ef by nudging -ef edge -ef a -i-e. 8r- >
5#rin& +i'e 5e-ecion o rig# by nudging -ef edge rig# a -i-e. 8r- .
5#rin& +i'e 5e-ecion fro' rig# by nudging rig# edge -ef a -i-e. 8r- A- >
E3end +i'e 5e-ecion fro' -ef by nudging rig# edge rig# a -i-e. 8r- A- .
2ove +i'e 5e-ecion -ef by i'e se-ecion -eng#. 5#if >
2ove +i'e 5e-ecion rig# by i'e se-ecion -eng#. 5#if .
8opy porions of se-eced 'edia ie's in +i'e 5e-ecion. 8r- 5#if 8
Re'ove +i'e 5e-ecion. 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 these1
Funcion Heysro&e
6rag cursor o #e -ef and creae i'e se-ecion. 5#if ,ef Arro%
6rag cursor o #e rig# and creae i'e se-ecion. 5#if Rig# Arro%
The following keystrokes can be used to ;oom when you are working with a time selection1
Funcion Heysro&e
Qoo' o +i'e 5e-ecion. 8r- PageUp
Qoo' bac& o Pro9ec. 8r- Page6o%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- 5 will toggle
snapping status on and off.
2.2! <avigaing by 1u'ping
Jou can ?ump to any point on the timeline using the
Vie%> Go +o> 1u'p +o command, or by using the
keyboard shortcut 8r- 1. )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 Ceconds. Jou could
therefore use either format, e.g. @@." or ":!4.
2.2" +i'e and ,oop 5e-ecions and #e +ranspor 4ar
There are two special ways in which the transport bar can be used with a loop selection or a time selection.
/n order o do #is ... = you s#ou-d do #is
Repeaed-y p-ay #e se-ecion
over and over
ake the reGuired loop selection, make sure Repea is enabled @the
button ne+t to Play on the Transport =arD, position the play cursor
within the loop and press 5pace.
P-ay bac& pro9ec s&ipping over
i'e se-ecion
ake the reGuired time selection and position the play cursor
anywhere before the start of that selection. Press A- 5pace.
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Up and Running: A REAPER User Guide v 4.72
2.22 /e' <a'es> 4uons and /cons
Depending on Appearance> 2edia preference
settings, you may @or may notD see your item
names displayed above the media item rather
than on it @see rightD. Jou might also see some
media item icons @or buttonsD. Jou9ll learn more
about this when we e+amine media items more
closely in Chapter O.
2.2@ REAPER Rouing Essenia-s
This section will teach you more about one of the most important core functions of '($P(' F Rouing.
'outing is the means by which you ensure that your media @audio and2or )D)D 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. Jou 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+ F 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 %Q, and elsewhere.
(ach track includes an /( 4uon 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 7 in the top right corner of the window,
or click anywhere outside the window.
The actual
contents of your
Track 'outing
window will vary
according to
your pro?ect
structure and
your D$<
hardware setup
@e.g. sound card
and audio
devices, )D)
devices etc.D.
Depending on the nature of your pro?ect, your display should be similar to that shown above, but not
necessarily identical. >otice in particular1
2aser$Paren 5end F (nabling this ensures that the trackHs 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 % @belowD. )f in doubt, leave this item enabled.
5ends F )n the F: =us e+ample earlier in this chapter you created sends. $ track9s 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 (upus F in addition to @or instead ofD directing output to your aster =us, you can
also direct output of any track directly to Lardware Autputs 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.
2/6/ *ard%are (upu F ,se this option to direct )D) output to an e+ternal device or to the
icrosoft .C <avetable Cynth.
Receives F For every send @sourceD track there will be a receive @destinationD 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.
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2 - REAPER Pro9ec 4asics
>otice @picture belowD that when you create a send, you are presented with volume and pan faders which
can be used to control this. Jou 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
trackHs routing,
controls such
as Nevel 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. Lowever, understanding
'($P('Hs 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. Jou will be shown how to do this later in this ,ser .uide, starting at Chapter &.
$pproach track
routing gently at
first1 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 %Q.
<oe: Cends and
'eceives can be any of three types. These are Pos Fader EPos PanF, Pre-Fader EPos F7F and Pre F7.
The differences will be discussed in Chapter %Q. eanwhile, if in doubt accept the default option Pos-Fader
EPos PanF. Cee also the flow charts that are shown at the end of Chapter Q.
2.24 +#e Rouing 2ari3
'($P('9s 'outing atri+ is a 6one stop7 window where you can manage and arrange a pro?ect9s 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# 4us it should
resemble that shown right1 of course your hardware outputs will not be the same.
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Abserve the cell in the matri+ where
the Gr 4ody row intersects with the
F7 4us 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 @see illustration
aboveD.
5i'p-ifying #e Rouing 2ari3
6isp-ay
)f your sound card has multiple
outputs, then by default, '($P('Hs
'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 Guite likely that you may want to use, for e+ample,
outputs % and ! as one pair @perhaps for your speakersD and outputs 0 and & as another pair @perhaps for your
headphone ampD. Lowever, it would be unusual to want to use outputs ! and 0 together as a pair.
)f you wish, you can prevent these
unwanted combinations from being
displayed by choosing the (pions>
Preferences command, then selecting the
Audio settings page. This includes a
8#anne- na'ing section, where you can
turn off the option to 5#o% non-sandard
sereo c#anne- pairs @see rightD. )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+.
2.2A 6oc&ing and F-oaing
Too many views on the screen at once creates clutter. ThatHs 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 6oc& in
6oc&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 that1
)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 6oc& in
6oc&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 Aac# 6oc&er o 2ain
)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 5e (paciy feature. This can be used to ensure that when floated and not in focus, the
Docker is transparent. Apacity can be set between !QK and %""K.
+ip: The keyboard shortcut A- 6 can be used as a toggle to show or hide the Docker or Dockers.
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2 - REAPER Pro9ec 4asics
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%>
5#o%$#ide a-- f-oaing %indo%s as a
method of handling screen clutter. $nother
useful command can be Vie%> 8ascade a--
f-oaing %indo%s.
2.2? +#e Undo *isory )indo%
'($P('Hs ,ndo feature is user friendly and very
powerful. The Vie%> Undo *isory command
@or use 8r- A- QF toggles open and closed the
Undo *isory )indo%. Jou can double click
on any event displayed in that window to go
back to that point.
The Genera- settings page under (pions>
Preferences includes a section which you can
use to determine the behavior of the ,ndo
Listory. )n particular, you can1
Cpecify the ma+imum amount of
memory to be allocated to ,ndo.
Cetting this to ;ero will effectively
disable this feature.
Cpecify whether item selection
and2or time selection and2or edit
cursor movements are to be
included in the ,ndo Listory.
(nsure that if the allocated ,ndo
storage area becomes full, the most recent actions will be retained in the ,ndo Listory.
5ave your Undo *isory %i# #e Pro9ec 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.
5ore 'u-ip-e undo$redo pa#s. <ithin the ,ndo
Listory window you can even store alternate seGuences
of commands and actions, then switch between them*
+ip1 An the Appearance page of your Preferences settings,
you can enable or disable the option 5#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. Jou can click
on this at any time to open and display the ,ndo Listory
window. Click a second time to close this window.
>ote also that the ,ndo Listory window is dockable. To do this
@as with most other windowsD, right-click on the title bar and
choose 6oc& in 6oc&er from the conte+t menu.
2.27 Heeping a )indo% on +op
The small pin shown on the right of the title bar of most windows @?ust before the
7D 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.
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2.2B 2u-ip-e Pro9ec +abs
'($P(' lets you keep more than one pro?ect open at the same time, using multiple pro?ect tabs. This makes it
easy for you to ?ump between different pro?ects if you are working on more than one song, or to move or copy
media items @audio and2or )D)D 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% Pro9ec +ab
command @or press 8r- A- <D. $ new tab will be opened @labelled UnsavedD, but the previous pro?ect will also
remain open on a different tab. Jou can ?ump between pro?ects simply clicking on the tab @see belowD.
To open a file in a particular pro?ect tab, simply select
that tab, then use the Fi-e> (pen Pro9ec 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. Jou may have as many pro?ects open as you
wish. 'ight click over any pro?ect tab to show the
pro?ect tab menu. The commands are1
<e% pro9ec ab, This inserts a new tab.
8-ose pro9ec. Closes the current pro?ect and the tab
with it. Jou can also do this by clicking on the 7 at the
left hand end of the pro?ect tab.
8-ose a-- pro9ecs bu curren. Closes all pro?ect tabs
e+cept current one.
8-ose a-- pro9ecs. Closes all open pro?ects.
A-%ays s#o% pro9ec abs. Chows pro?ect tabs, even if only one pro?ect is currently open @toggleD.
5#o% pro9ec abs on -ef side of %indo%: Displays tabs on left of window instead of top @toggleD.
*ide bac&ground pro9ec F7$2/6/ %indo%s. (nsures that when one of a number of open pro?ect tabs is
selected, any open F: windows etc. belonging to other open pro?ects are not displayed on top of it.
Run bac&ground pro9ecs. This allows you to play the pro?ect in one tab while working on another.
Run sopped bac&ground pro9ecs. Commences playback of pro?ects in tabs not currently selected.
P-ay sopped bac&ground pro9ecs %i# acive pro9ec1 (nables background pro?ects @open on other tabsD
to be played with the current pro?ects.
(ff-ine bac&ground pro9ec 'edia. This sets to offline the status of media items in all tabs other than
whichever is currently active.
2onioring F7 = This opens the monitoring F: window for hardware output monitoring1 see Chapter Q.
+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> 8-ose A-- Pro9ecs command to close all open pro?ects at once.
>ote that the small 7 button used to close a pro?ect tab can be positioned to the left or the right1 ?ust drag
and drop according to your preference.
2.2C (pening 2u-ip-e Pro9ec +abs +oge#er
Jou can open several pro?ects together at the same time, each in its own pro?ect tab, provided all the .'PP files
are in the same folder.
Cimply use the Fi-e> (pen pro9ec command, then navigate to the reGuired folder. ,se 8r- 8-ic& to build your
selection, ensure (pen in ne% pro9ec ab is ticked, then click on (pen.
2.@! 2anaging #e P-ay 8ursor
=y default, when a pro?ect is playing, pressing 5op @or 5pacebarF will stop playback and return the play
cursor to its previous starting position.
Pressing Pause @or EnerD will pause playback
at the current play cursor position. Jou 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 enabled2disabled in your 5ee& p-aybac& %#en c-ic&ed. @(pions> Preferences>
Audio> 5ee&ing settingsD.
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Q!
@ - Recording %i# REAPER
@ 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.
@." 8reaing a <e% Pro9ec
To create a new pro?ect file, you can either use the Fi-e> <e% Pro9ec command, or press 8r- <.
The Pro9ec page within the (pions> Preferences dialog bo+ can be used to determine how '($P('
behaves each time you create a new pro?ect1
$mongst the most useful options on this screen are the following1
5pecify a e'p-ae fi-e for pro9ec. 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% pro9ec. )f you enable this option, you will be prompted to save your new
pro?ects immediately they are created.
(pen properies on ne% pro9ec. )f this option is selected, the Pro9ec (pions 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 reGuire.
Auo'aica--y creae a bac&up eac# i'e your fi-e is saved and over%rien. This helps protect
you against accidental loss of work.
<hether to create and save 'u-ip-e pro9ec versions. This feature is e+plained in Chapter %%.
Auo'aica--y save o a i'esa'ped fi-e a inerva-s you specify. This can help to protect you
from the conseGuences of an unforeseen circumstance such as a power outage or a computer crash. Jou
can save these files to the pro9ec direcory and2or an addiiona- direcory. Jou can also specify the
freGuency @in 'inuesD of automatic saving, and whether to apply this %#en no recording, %#en
sopped, or at any i'e.
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@.2 5eing 2edia Pro9ec (pions
$fter creating a pro?ect file, you should
display the Pro9ec 5eings window F
A- Ener F to ensure that you are using
your preferred 2edia 5eings. )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 Guality audio. )f
you wish later to use some other format
@such as .2P@D 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 DPD format rather than CD,
you should consider a sample rate of
&5""" instead of &&%"". This is specified
on the main Pro9ec 5eings page.
Come people prefer to use 55!"" for CD
and RO""" for DPD. Lowever, increasing
sample rate also increases media item file si;e and slows down processing.
(#er for'as.
)f you prefer, you can record using any of a
number of available compressed formats,
including P0, A.. and <avPack. Choosing
any of these will present you with further
options appropriate to that format. For
e+ample, if you choose P0 you will need
also to specify your reGuired 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 markers2regions whose name begins with V. Cee Chapter 5 for more about markers and regions.
@.@ 5aving #e Pro9ec Fi-e
$fter creating a file, use the Fi-e> 5ave Pro9ec command, or the keyboard shortcut 8r- 5, to save it. Jou will
need to specify a pro?ect file name. <hen saving a new file you are offered a number of options. Jou can
choose to 8reae
subdirecory for
pro?ect. )f you also select
8opy a-- 'edia ino
pro9ec direcory you
may also specify a format
for these items to be
converted.
)f you select 2ove a-- 'edia ino pro9ec direcory , then by default all media files used by the pro?ect will
be moved into the pro?ect subdirectory. Aptionally you can ask to 8opy ra#er #an 'ove source 'edia if
no in o-d pro9ec 'edia pa#. Jou 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.
Jou should also make sure that you get into the habit of freGuently resaving your pro?ect after making changes.
The easiest way to do this is simply to press 8r- 5.
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@.4 8reaing 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. Jou can add tracks using the +rac&>
/nser <e% +rac& command or by pressing 8r- +. $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 (pions>
Preferences you can display the
Recording settings page and decide
which items are automatically
included in your trackHs file names.
These can be any combination of
track inde+ @numberD, track name,
and the time of the recording. <e9ll look at more of these recording preferences later in this chapter.
'($P(' supports multitrack recording. The number of different sources that you can record at the same time is
limited by the number of enabled inputs @under Preferences, $udio, DeviceD on your audio soundcard. =efore
commencing recording, for each track you will need to1
$rm the track for recording.
$ssign the )nput that is being used.
Check that the sound level is right for recording.
Aptionally, you may also1
Celect a recording format other than the default.
Turn input monitoring on.
<oe: Jou 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 +o Prepare and Record (ne +rac&
%. Check the (pions menu to make sure that Record 'ode: <or'a- is selected. <e9ll e+amine the other
modes as this chapter progresses.
!. Click on the Record Ar' button for that track @on the leftD
The button should now appear red.
0. Click the mouse over the /npu seings for that track
@below the volume fader - see rightD to display a menu. The
e+act options on that menu will depend on which sound
card and audio device@sD you have installed.
&. Celect the reGuired input from the menu. This will be the
one to which the microphone or line that you are using for
recording is connected. )n most cases, this is likely to be
one of the /npu: 2ono options. )f you are not sure which option to pick, choose 2ono when recording
from a single microphone or lead.
Q. (nable /npu 2onioring F this is the first option @2onior /npuD on
both the Record ar' button and /npu seings right-click conte+t
menus, or you can use the toggle Record 'onioring button shown here
@rightD. 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('9s input monitoring.
Consult the sound card9s documentation for more information about this. )f your sound card does not
support direct monitoring, then you should enable '($P('9s input monitoring. There9s more about input
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QQ
'($P('9s Preferences include a page
of +rac&$5end defaults which you can
use to set track default characteristics
@e.g. default volume fader levelD.These
are e+plained in Chapter %R.
Up and Running: A REAPER User Guide v 4.72
monitoring in section 0.%O.
O. $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 F%"d=. >ote that the recording level
cannot be controlled by ad?usting the TrackHs volume fader1 that controls only the playback level.
#. Press the Record button on the +ranspor, or use the keyboard shortcut 8r- R.
5. To finish recording, either press 5op on the Transport, or press 5pace> or press the Record button again,
or press 8r- R. >ow click on the Record Ar' button for this track to 6disarm7 it.
+ip: The )nput menu @shown aboveD includes an item /npu: <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.
<oe "1
)f you stop recording by
pressing the Record button or
with 8r- R, the recorded media
are automatically saved.
)f you press 5pace or 5op, a
dialog bo+ will be displayed
giving you the opportunity to
save or delete any of your
recordings @see rightD. This can
be useful, for e+ample, if you
have armed and recorded more
tracks than you intended.
Jou can also rename the media
file. This can be useful, for
e+ample, if you forgot to name
the track before recording.
<oe 21
'($P(' supports 6on the fly recording7. 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. Cimilarly, 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'$6isar' 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
eGuipment. LereHs what to do1
%. Turn the input or gain control on your input device @e.g. firewire device or deskD 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
0. $udition the instrument, slowly raising the input or gain control on your input device until it sounds right.
@.? +o Prepare and Record 2u-ip-e +rac&s
To prepare multiple tracks for recording you could repeat all of the necessary
steps as many times as you reGuire tracks, but that might be tedious F and
besides, itHs too easy to make a mistake when selecting your audio inputs.
Jou 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 seGuence1
%. ,se the /nser> 2u-ip-e rac&s command to insert as many tracks as
you reGuire. Cpecify the number, then click (H. >ame your new tracks.
!. Celect 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.
0. Ane method is to use the Rouing 2ari3. 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
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assigned to the first input @aboveD. )f you were to record now, the same signal from the first input would
be recorded four times* @>otice also that by default, input % is also assigned to track Q - the F: bus - but as
this is not armed nothing will be recorded there.D
&. 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 F these are
listed below the audio inputs. Jou can also right click over any red cell to
access the 'ecord )nput menu should you wish to do so.
Q. onitor the strength of the signals and record as before.
+ips: Using #e +rac& 8onro- 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 reGuired
tracks, right-click on the arm record button, then make your choices from the
menu. Lolding 5#if will over-ride this and apply your menu choices to the one
track only. )nputs can be assigned to a selection of tracks in a similar way by
clicking on the /npu button.
!. To assign a series of mono inputs in seGuence to a set of tracks, select the tracks then click the /npu button
of any track in the selection. >e+t, select Assign inpus seIuenia--y then your reGuired inputs F e.g. in the
above e+ample, this would be 2ono, /npu " o /npu 4.
0. 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.
@.7 Auo Ar'ing +rac&s
)f you wish, you can ensure that tracks are automatically armed for recording when selected and unarmed when
deselected. Cimply select the track@sD then right click over the record arm button for any track in the selection
and choose Auo'aic record ar' %#en rac& se-eced. 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 5e a-- rac&s
o auo'aic record ar' %#en se-eced.
@.B Using #e 2erono'e
Jou 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 (pions>
2erono'e$Pre-ro--> 2erono'e$ Pre-
Ro-- 5eings command to set up your
metronome. Neft-clicking on the metronome
button, or choosing the (pions>
2erono'e$Pre-ro--> 2erono'e
Enab-ed command from the main menu, is
then used to toggle the metronome on2off.
+#e 2erono'e 5eings
Enab-e 2erono'e: This turns the built-in
metronome on or off.
+#e /( 4uon1 )mmediately to the right of
the (nable etronome option, this allows
metronome output to be directed to the
device of your choice @e.g., LeadphonesD.
Run 6uring P-aybac&: This will turn the
metronome on during playback.
8oun-in before p-aybac& : This will
enable a count-in before playback.
Run 6uring Recording1 This will turn the metronome on during recording.
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8oun-/n 6uring Recording: This will enable a count-in before recording. ,seful if you are recording yourself.
)t ensures that when you press 8r- 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.
8oun-/n ,eng# E2easuresF: 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.
2erono'e Vo-u'e: etronome Polume - This is the overall volume of the metronome.
5econdary 4ea Gain:- This, in relation to the overall volume, is the amount by which the volume of
secondary beats will be ad?usted. Jou can also use Camples for your own metronome sounds.
Firs 4ea 5a'p-e: This is the sample for the first beat F e.g., in &2& time, this sample will play on the %.
5ubseIuen 4ea: This is the sample for other beats. For e+ample, in &2& time, this sample will play on the !,
0, 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 @with any other pro?ect setting you think may be usefulD then, in
Preferences2Pro?ect specify that pro?ect as the default template to use for all new pro?ects.
=y default, '($P(' uses a synthesised metronome. Jou can specify in L; the FreIuency of firs bea and of
5ubseIuen beas.
4ea 8-ic& ,eng# 33 's1 This is how long each beat click lasts.
5ar s#ape1 This can be hard @louderD or soft @GuieterD.
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 Pro9ec 5eings. Press A- Ener and display the
Pro9ec 5eings page if you need to change this.
@.C Recording 5ereo +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 0.Q, 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 5#o% <on-5andard 5ereo 8#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.
@."! 2u-i-8#anne- Recording
This is a more advanced topic, less
suitable for novices.
)f you define a track as multichannel
@for e+ample, perhaps &, O or 5
channelsD then your recording input
conte+t menu for that track will include
an option for multichannel recording.
Jou 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 'eer,
5#o% pea&s fro' a-- rac& c#anne-s Eno 9us "J2F.
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@."" +rac& +e'p-aes
$fter you have set up a track @or a number of tracksD 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-aes.
+o creae a rac& e'p-ae fro' an e3ising rac& Eor se-ecion of rac&sF:
%. Celect the track or tracks.
!. Choose the +rac&> 5ave rac&s as rac& e'p-ae command.
0. <hen prompted, type a template name. )f you wish, you can select the option to /nc-ude rac& ie's
in #e e'p-ae. )f so, any audio and )D) items on the track will be included. Jou may also choose
to /nc-ude enve-opes in e'p-ae. @(nvelopes will be e+plained in Chapter %OD.
&. Click on 5ave.
+o i'por an e3ising rac& e'p-ae ino a pro9ec:
%. From the '($P(' menu, choose the +rac&> /nser rac& fro' e'p-ae command.
!. Depending on how your templates are stored, either select the reGuired template from the menu, or
choose (pen e'p-ae> then choose the reGuired template and click on (pen.
The /nser rac& fro' e'p-ae sub-menu includes (ffse e'p-ae ie's by edi cursor. )f enabled,
any media items and2or envelopes saved with the original template will be inserted at the edit cursor position.
<oe: Track properties and settings are saved into the template, including track name, inputs and outputs, any
F: plug-ins @with any parameter settings, parameter modulation, and track controlsD, sends and receives.
Lowever, 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-aes. Jou can find where your track templates are stored by using the (pions>
5#o% REAPER resource pa# = command @see Chapter %D. Lere you can create subdirectories within the
TrackTemplates folder where you to store and arrange your track templates as you please. Jour subdirectories
and their contents will automatically be shown on the /nser rac& fro' e'p-ae sub menu.
@."2 /'poring an E3ising Pro9ec
The +rac&> /nser +rac& fro' +e'p-ae> (pen +e'p-ae 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 F media items, track
settings, F:, routing, etc. Lowever,
items that are not track specific @such as
markersD are not imported.
To do this, simply select Pro9ec Fi-es
as the File Type when the (pen +rac&
+e'p-ae 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.
@."@ Pro9ec +e'p-aes
$ 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 Cettings @including edia
CettingsD 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. Lowever, unlike when creating a Track Template, you should remove
the media clips and items from a file before saving it as a pro?ect template, otherwise every time the template is
used to create a new file, those media items will be inserted. @,nless, of course, there are media clips that you
actually want saved into the templateD.
+o creae a Pro9ec +e'p-ae:
<ith the source pro?ect file open, choose the Fi-e> Pro9ec +e'p-aes> 5ave As Pro9ec +e'p-ae
command. <hen prompted, give the template a name, then click on 5ave.
+o creae a ne% fi-e based on a Pro9ec +e'p-ae
Choose the Fi-e> Pro9ec +e'p-aes command, then click on the name of the reGuired pro?ect template.
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Up and Running: A REAPER User Guide v 4.72
+o use an e3ising fi-e as a e'p-ae for a-- ne% pro9ecs:
Choose the (pions> Preferences command, then Pro9ec.
Click on the 4ro%se button labeled 6<hen creating new pro?ects, use the following file as a template7.
The contents of the pro?ect templates folder will be displayed.
Celect the reGuired 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'py Pro9ec. Then, if you want to create a new file that doesnHt use your default pro?ect
template, you can do so by simply choosing from the menu Fi-e> Pro9ec +e'p-aes> E'py Pro9ec.
@."4 ,ayered Recording
The term layering refers to a recording techniGue in which two or more instruments and2or 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 F 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 method1
%. <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
6disarm7 this track.
0. 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. Celect the )nput used by the microphone
or line that is to be used to record this new track.
Q. ake sure that Record: inpuEaudio or 2/6/F is
selected and that /npu 2onioring is turned on
for this track @see aboveD. 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.
O. $d?ust the Polume levels of the previously recorded track @using the track faderD and the volume level of
the incoming signal @using your e+ternal mi+er desk or audio device, or audio device control softwareD
until you are happy with your headphone mi+.
#. Press 8r- R to start recording, and 8r- R again to stop when finished. $gain, disarm this track when
you have finished recording on it.
5. 'epeat this procedure for all other tracks to be layered. $t step O. you can feed into your aster a mi+ of
all tracks previously recorded up to that point.
<oe: )f you notice an echo type delay in your headphones it will be because latency is too high. Nowering the
block si;e @see %.%!D to !QO or %!5 can improve this. An consumer Guality built in sound cards, however, this
might cause pops and clicks. For <indows users, the use of $C)A&$NN drivers might resolve this.
+ip: any sound cards and ,C= 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%0 Apen the supplied pro?ect file A-- +#roug# +#e <ig#.RPP and save it as A-- +#roug# +#e
<ig# ,A.ER5.RPP. Lave a go at recording another instrumental track of your choice to go into this pro?ect -
any instrument you choose*
<oe: 2onior /npu E+ape Auo 5y-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 (verdubbing and Punc# Recording
Jou 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. Jou 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 techniGue can be applied with both audio and )D) items. )D) is discussed later in this chapter when
-ooped i'e se-ecion recording is also e+plained.
@."? <on-6esrucive Punc# Recording
=y default, punch recording is not destructive1 it creates a new take, but does not destroy the original. To use
punch recording, follow this seGuence1
%. Choose the (pions command, then Record 'ode: i'e se-ecion auo punc#. The display of the
Transport =ar record button will change. Disable the Toggle 'epeat function on this toolbar.
!. Celect the track and arm it for recording. Piew the (pions menu and for now ensure that 5#o% a--
a&es in -anes E%#en roo'F is not selected. <e9ll look at lanes shortly. $lso, for this e+ample, make
sure that ,oop poins -in&ed o i'e se-ecion is not enabled.
0. 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.
Q. Click once on the
e+isting media
item to select it.
Click and drag
along the arrange
background area
to select the region that you want to be re-recorded @see aboveD.
O. '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 reGuired place on the timeline.
#. Press 8r- R. Jou will hear the recorded material up to the start of the defined region, where you can re-
record that passage. Press 5pace to stop when you have finished recording. Disarm the track.
5. <hen prompted, accept the option to save your recorded media. Don9t forget to restore normal
recording mode when you have finished your punch recording.
Jour track now contains
two media items, with
the new one on top of
the old one.
<hat9s happened to the
originally recorded
passage3 <ell, it9s still
there and you can still use it if you like. Jou9ll find out how when we get to look at +a&es.
<oe1 Jou can enable the option 2onior rac& 'edia %#en recording. )f you do this when punching in,
say, a guitar or vocals, regular 2onior /npu will cause you to hear both the e+isting and the new material
right up to the punch, then only the new material during the punch. 2onior /npu Eape auo sy-eF will
monitor only the e+isting materials up to the punch, then only the new material.
+ip1 )f you make a mistake or change your mind when overdubbing, you can use 8r- Q to undo the recording
or you can select the unwanted media item and use the 6e-ee key to remove it.
.etting to grips with '($P('9s various record modes and in particular how they work in combination with other
options @such as monitoringD can be somewhat bewildering for new users. Chapter !0 includes a summary table
+roub-es#ooing Record 2odes and 2onioring.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
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Up and Running: A REAPER User Guide v 4.72
@."7 6esrucive Punc# Recording
Jou 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 (pions> <e% recording #a over-aps e3ising
'edia ie's command to turn on the toggle option +ri's e3ising ie's be#ind ne% recording. =e
careful how you use this. Jou can restore this option to its default setting by choosing 5p-is e3ising ie's
and creaes ne% a&es from the same menu.
@."B Fades and 8rossfades
'($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
(pions>
Preferences>
Pro9ec> 2edia
/e' 6efau-s. Jou
can select a preferred shape and duration @lengthD for your fade curves. Clicking on the
image of the curve @shown aboveD causes you to be offered a number of choices @see rightD.
$s you will see in Chapter O, you can easily change the default fade type and2or length for
individual media items. )f you prefer not to use automatic fades, ?ust disable that option.
@."C Recording 2u-ip-e +a&es
'($P('Hs multiple takes feature can help you when you want to record several versions of a
track to see which you prefer. )t works like this1
%. Cet record mode to normal @(pions> Record 2ode: <or'a-D.
!. ake sure that Enab-e rac& free ie' posiioning @F)PD is not enabled @i.e., not tickedD for the tracks
being recorded. ,se the TCP right click conte+t menu
to do this. <e9ll get to F)P later in this chapter.
0. 'ecord your first take of the track.
&. 'ewind to the start then record your ne+t take.
Q. '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
Larmony Po+ track. )t begins with the te+t +a&e @$@.
<oe: ,nder (pions> Preferences> Appearance> Pea&s$)avefor's there is a setting to Auo'aica--y
co-or any recording pass #a adds ne% a&es o e3ising ie'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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@.2! 5#o%ing +a&es in ,anes
Aptionally, 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 8r- , or by choosing (pions> 5#o%
a-- a&es in -anes E%#en roo'F from the ain enu.
)n the first
e+ample @shown
rightD, 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 6isp-ay e'py a&e -anes @(pions> +a&e -ane be#avior menuD has been
enabled. This ensures that the short overdubbed section is given its own complete lane. This makes it easier for
you to keep track visually of which parts of each take belong together.
For both tracks,
the second take
is currently
selected @e+cept
for the
overdubbed
sectionD and will
be played.
)n this second
e+ample @rightD, different takes @and permutations of takesD 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. Lowever, as long as the option to Chow $ll Takes in Nanes remains active, the
lanes will automatically be restored to view when the height of these tracks is e+panded.
<oe: <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.
@.2" Using 8o-or 8oded +a&es
'($P('9s /e'> /e' and a&e co-ors command offers a
variety of interesting ways that you can use color when working
with takes and items @see rightD. <e9ll look at this whole topic in
detail in Chapter#, but for now notice the command 5e acive
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 5e acive 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.
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@.22 )or&ing )i# 2u-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 Guite e+tensive - we9ll 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.
8o''and 5#orcu Effec
>e+t Take + Displays ne+t take for selected track@sD.
Previous Take 5#if + Displays previous take for selected track@sD.
(+plode $ll Takes to >ew Tracks Creates a separate track for each take @see belowD.
E3p-ode A-- +a&es o
<e% +rac&s differs
from 5#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 @in addition to the original trackD
two new additional tracks, one for each take.
8auion: Ane look at the +a&e submenu @on the media item9s right-click conte+t menuD will show you that
there are commands available for deleting takes and cropping to active take. Jou are advised to avoid these
until you have worked thru Chapter # of this guide. )n particular, avoid using the 6e-ee key when selecting
takes1 you are likely to delete more than ?ust the take that you don9t want*
+ry i no%0 Apen the pro?ect file A-- +#roug# +#e <ig# ,A.ER5.RPP @which you saved earlierD and add a
vocal harmony track to this pro?ect. ,se this track to record three takes F then save the file.
@.2@ (ver-apping /e's
Jou have already been shown two of the three overdubbing options on the (pions menu command <e%
recording #a over-aps %i# e3ising 'edia, i.e. 5p-is e3ising ie's and creae ne% a&es
Edefau-F and +ri's e3ising ie's be#ind ne% recordings Eape 'odeF. The third option is to 8reae
ne% 'edia ie's in separae
-anes E-ayersF.
The e+ample below shows how
this works. )n the first illustration
@aboveD a part of a track has been
recorded. )n the second illustration @belowD, we have returned to this track and with the option 8reae ne%
'edia ie's in separae -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. Jou can choose which of these media items are and are not played.
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There is also an (pions menu command to 5#o% over-apping 'edia ie's in -anes. The ma+imum
number of lanes can be set on
the Aptions, Preferences,
$ppearance page.
This general topic will be
addressed again later in this
guide, especially in Chapters
&, Q and #.
@.24 Recording 2u-ip-e Addiiona- /e's
<e have already seen how you can use '($P(' to record multiple takes on the same tracks. Nater, in Chapter
#, you will be shown how to edit these, so as to take the best parts from each of several takes and then patch
them together into a single take.
$s an alternative to using multiple takes, however, you may wish to record additional items onto an e+isting
track, perhaps overlapping. This is an e+ample of where free item positioning can offer you greater fle+ibility. =y
default, free item positioning is not enabled. To record e+tra items @rather than additional takesD on to an
e+isting track, follow this seGuence1
%. Cet record mode to normal @(pions> Record 2ode: <or'a-D.
!. ake sure Free /e' Posiioning @F)PD is enabled @tickedD for
the tracks being recorded. 'ight click on the Track Control Panel
for the selected tracks and select Enab-e free ie' posiioning
for se-eced rac&s if this is not already ticked.
0. 'ecord your first item for the track.
&. Position the cursor at the point where you wish to record the second item. 'ecord this item.
Q. 'epeat step &. as often as reGuired.
E3a'p-e
)n the first screen shot shown here,
Track ! contains a Pocal Track and
Track % a Pocal Larmony for the
first half of the song.
)n the second screen shot, the
option for Free ie' posiioning
@F)PD 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
Pocal Larmony 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.
<oe1 )n the Aptions, Preferences, Pro?ect, Track2Cends Defaults window there is an option to make free item
positioning enabled for your tracks by default.
@.2A Recording %i# E'py Evens
(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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recorded. NetHs 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 this1
%. )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 2onior /npu for this
track, and make sure the output from the aster is directed to your headphones.
0. ,se the (pions menu to ensure that Record 'ode: auo punc# se-eced ie'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 /nser> E'py ie' command to create the empty item. 'epeat this as often as
reGuired. )f necessary, click and drag to ad?ust their e+act positions.
Q. )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.
O. Celect all of the reGuired events. To do this, use the 8r- 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 8r- R to start recording. <hen finished, press 8r- R again to stop. )f prompted, accept the
option to save all files. Jour previously empty media items will have been replaced with your newly
recorded material. Disarm the track.
@.2? Recording 2/6/
Jou have a number of options for recording )D), depending on what eGuipment you have and how it is set up.
)n every case, however, the principle is the same1
Jou will need to use either '($P('9s 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.
Jou will need to create a track @or assign an e+isting oneD for your )D) recording.
Jou will need to assign an output device for your track.
Jou will need to assign a Channel for the )D) item.
Jou will need to turn )nput onitoring on to be able to hear what you are playing.
'($P('9s Virua- 2/6/
Heyboard, can be played
using your mouse or PC
keyboard. This keyboard is
displayed using the command
Vie%> Virua- 2/6/
Heyboard. The shortcut keys
A- 4 can be used to toggle
display on and off.
Procedure for Recording o a ne% 2/6/ +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 Virua- 2/6/
Heyboard. )f this is not visible, press A- 4. 'ight click over any key that you wish to be your centre note.
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0. An the track you are using, right click over the arm record button @as shownD. ake sure that 2onior
/npu and Record /npu are both selected, and that you have selected the Virua- 2/6/ Heyboard as
the /npu: 2/6/ device. For this
e+ample, select A-- 8#anne-sD.
These settings can be made in the
'outing atri+ if you prefer.
&. ake sure the TrackHs output goes
to the aster, and that the aster
output goes to the hardware audio
outputs to which your speakers or
headphones are attached.
Q. )n this e+ample we will use a
Coftware Cynthesi;er. Apen the F7
<indow for this track. Jou will need
to insert a Coftware Cynthesi;er
here. Jou can use any such PCTi or
D:i synth that you already have
installed. )n this e+ample, we will
be using V5+i Rea5yn#
E8oc&osF, which is included with '($P('. For the time being, leave the 'eaCynth parameters at their
default settings.
O. Press 8r- R to start recording. Play a simple tune on the Pirtual Beyboard. ,se your mouse or PC
Beyboard F e.g., D3cvbvc3D will play half a scale up and down. <hen finished. Press 8r- 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('9s built in midi editor.
Procedure for P-aying 4ac& a 2/6/ /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
@indicated by
the mouse
cursor, shown
leftD and then
choose 5ave
Prese to
name and save
that set of
parameters.
Jour named
preset can be recalled from the Preset drop down list any
time. Jou can make and use presets in this way for all F:
Plug-ins and Cynths. <ith PCTi synths, you are also able to import and e+port patch2bank files @see aboveD.
<oe1 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 (E and Compression to
alter how the audio item sounds when played back, but the audio item itself stays the same.
<ith 2/6/, 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;er9s
settings F or even by changing the synthesi;er F we are able to produce a completely different sound.
Despite these differences, both audio and )D) items can be included on the same track.
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<oe: =efore recording, you can assign seGuential input channels to a number of )D) tracks in one action.
Celect the tracks, then click on the /npu button for any one of them. From the menu, choose first Assign
inpus seIuenia--y, then 2/6/ EseIuenia- inpus or c#anne-sF, then select the )D) device, then the
channel selection @e.g. for four tracks, perhaps channels % to &D.
@.27 (#er 2/6/ Recording 2odes
<hen recording )D), you should
select one of si+ modes. )n the above
e+ample, we used Record /npu.
<ith this mode, any e+isting events
will be retained1 the new material will
be recorded as a new take. Four of the
other five are Record: 2/6/
overdub rep-ace modes1
Record 2/6/ overdub1 this will
add new notes on any channel
%i#in e+isting items while
preserving what is already there.
Record 2/6/ rep-ace1 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 2/6/ ouc#-rep-ace1 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 2/6/ -ac#-rep-ace1 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 (upu -M Record: oupu E2/6/F1 Cimilar 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 @see sections 0.%O to 0.%5D
and looped time selection recording @see belowD.
+ry i no%0 )f you have a )D) keyboard, open the pro?ect file A-- +#roug# +#e <ig# ,A.ER5.RPP @which
you saved earlierD and add a )D) keyboard track to this pro?ect.
@.2B Recording )i# a Virua- /nsru'en
To use a virtual instrument @such as a PCTi or D:i plug-inD for
recording a )D) track, you should choose the /nser virua-
insru'en on ne% rac&= command. This can be done
either by choosing /nser from the main menu @then Virua-
insru'en on ne% rac&D, or by right clicking
over the vacant Track Control Panel area and
selecting this command from the conte+t menu.
Jou will then be presented with a selection of all the
virtual instruments that you have installed on your
system. Double-click on the reGuired item. The track
will be created, armed and named and the
instrument displayed.
The e+ample shown here is for Rea5yn6r, which
reGuires four outputs. )f the item selected @like this
oneD reGuires multiple outputs then '($P(' will create the initial track and prompt to ask you if you would like
the other reGuired tracks to be automatically built. )f you select .es the entire output chain will be built for you.
<hat e+actly this produces will, of course, depend upon which Pirtual )nstrument you have selected.
2onioring an E3erna- 5yn#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.
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@.2C Using 2icrosof G5 )aveab-e 5) 5yn#
Jou can use the
icrosoft .C
<avetable Cynth 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('. Jou will be shown how to import files later in this section.
To enable the icrosoft .C <avetable C< Cynth1
%. .o to (pions> Preferences and display the 2/6/ 6evices screen.
!. ,nder )D) Autputs, right click on icrosoft .C <avetable C< Cynth and select Enab-e (upu.
0. Click on App-y, then on (H.
This Cynth will
now be
available as a
)D)
Lardware
Autput.
Jou can if you
wish now use
the 2icrosof
G5
)aveab-e
5) 5yn# as
your output
device instead
of using a
software synth
@see aboveD.
@.@! ,ooped (verdubbing and ,ooped +i'e 5e-ecion Recording
Noop overdubbing allows you to make repeated overdubs of a section of recorded material without having to be
repeatedly stopping and starting. The techniGue can be used with both audio and )D). )n both cases, you will
need to check your (pions> Preferences> Audio> ,oop Recording settings. (nable )#en recording and
-ooped add recorded 'edia o pro9ec (n sop. ,sually you will also want to enable /n -oop recording>
discard inco'p-ee firs or -as a&es if a -eas one fu-- -oop %as recorded. Jou should also @from
'($P('9s main (pions menuD disable ,oop poins -in&ed o i'e se-ecion and enable +i'e se-ecion
auo-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 F this should enclose the time
selection, as shown below. ake sure +ogg-e repea @ne+t to 'ecord buttonD is enabled on the Transport =ar.
<hen Record inpu Eaudio or
2/6/F 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 5op. The loop is
used to audition material immediately
before and after the section being recorded.
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For e+ample, you might choose 2onior inpu and Record /npu Eaudio or 2/6/F and /npu 2/6/ then
your )D) device. )f so, the outcome will be similar to that shown here. )n this case, you have three takes for
the time selection passage.
$udio material recorded with /npu 2(<( rather than /npu 2/6/ would produce a similar result, e+cept of
course the media items would be audio instead of )D). Jou will, however, get significantly different outcomes if
you use any of the Record: 2/6/ 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+ample1
Record: 2/6/ (verdub1 with each loop, the new material will be added to the e+isting material within the
time selection.
Record: 2/6/ Rep-ace1 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. Cecond time
around it will replace the material recorded in the first loop with new events, and so on. Anly the most recent
material will be saved.
Record: 2/6/ +ouc#-rep-ace1 (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: 2/6/ ,ac#-rep-ace1 (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
techniGue can be useful, for e+ample, if you are replacing e+isting material little by little.
@.@" /'poring 2edia: #e 2edia E3p-orer
Jou can incorporate e+isting media items @such as P0, )D) and <$P filesD into a '($P(' pro?ect. This can be
done from the main menu, using the /nser> 2edia Fi-e =, but itHs often easier and more fle+ible to use
'($P('Hs 2edia E3p-orer. The edia (+plorer includes several features that make it easier for you to insert
items. The edia (+plorerHs state is toggled between displayed and hidden using the Vie%> 2edia E3p-orer
command, or the keyboard shortcut 8r- A- 7. $mongst the edia (+plorerHs useful features are these1
The edia (+plorer can be docked and undocked in the usual way or from the (pions menu.
Jou can navigate to display of any folder9s contents in its main window, by clicking on the small button with
two dots, located ?ust below the Aptions command.
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Jou can filter the items listed in the main media e+plorer panel by typing a te+t string in the fi-er bo+,
shown here ?ust above the Date column. )n the file list shown above, for e+ample, you could type be-- to
show only those items whose name includes the word bell. Deleting this te+t removes the filter.
The drop down list @right of filter bo+D can be used to display file details @as shown hereD or file names
only.
Jou can add the currently displayed folder to the edia (+plorerHs shortcut list by using the (pions> Add
curren fo-der o s#orcus -is command. Celect any folder on the Chortcuts list to display its contents.
>otice the Transport =ar beneath the Chortcuts Panel F From left to right, its four buttons are Play, Pause,
Ctop and 'epeat. There is also a hori;ontal fader which can be used to ad?ust the volume of playback. Jou
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
(pions menu.
=y clicking on the /( button @ne+t to Transport =arD, you can direct the Preview to any audio output. The
peaks within the preview window can be ;oomed using your mousewheel. Jou can also scroll by holding
5#if while you drag the mouse left or right. Jou 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 Auo 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 5ar on bar. An the (pions menu there is
also an option to Auo advance o ne3 fi-e afer previe%. This will only work if the repeat function on
the transport bar is set to off. Ather preview toggle options include Auo-sop previe% afer adding
'edia, and 6isp-ay previe% posiion in en#s of seconds.
The Pic# rotary control ad?usts the pitch of the item being previewed. Double-click to reset. The (pions
menu Pic# s#if &nob range command allows you to set its range to W2- !, O or %! semitones.
The (pions menu includes two toggle options to Preserve pic# %#en e'po 'ac#ing and
Preserve pic# s#if %#en c#anging 'edia.
To ad?ust the height of the waveform preview, click and hold the mouse on the top edge of the preview
area, then drag up or down.
To avoid possible clashes of tempo, you can select an option @including +e'po 2ac# (ff and +e'po
2ac# (nD from the drop down list in the preview area. There is also a toggle option to 5ar on 4ar.
'ight clicking over the name of any media item will produce a conte+t menu of choices @shown hereD for
inserting that item into the current pro?ect.
These choices are /nser ino pro9ec @on
currently selected trackD, /nser a i'e
se-ecion Esrec#$-oop o fiF @if a time
selection is currently activeD, /nser ino pro9ec
on ne% rac&, /nser as a&e in se-eced ie'
@reGuires an item in the pro?ect to be selectedD,
Use as 'edia source for se-eced ie' in place
of that item9s e+isting media source, Use as
'edia source for se-eced ie' Esrec#$-oop o fiF in place of that item9s e+isting media source,
and Previe%
Celected items can also be inserted into a pro?ect by dragging and dropping, or by double-clicking on the
item, or pressing Ener @see ne+t pointD.
The default behavior when double-clicking or pressing Ener on a
selected item is determined by an (pions menu setting 6efau- acion
Edoub-e-c-ic& or ener keyD @shown on the rightD. Aptions for selected
media items include /nser 'edia on se-eced rac&, /nser 'edia
on ne% rac& and 5ar previe%. Aptions for selected pro?ects include
(pen pro9ecs in curren ab and (pen pro9ecs in ne% ab.
There is also an (pion to A-%ays s#o% %avefor' pea&s for
se-eced 'edia.
The (pions menu also includes the command Use )indo%s E3p-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
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disabled, only '($P('9s 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.
ultiple selections can be inserted
from the conte+t menu or by
dragging and dropping. The 2edia
screen in the Preferences window
includes a setting for the default
behavior of multiple insertions. )f in
doubt, set this to Pro'p User. Cee
also section @.@@.
Cee end of Chapter for summary list of media formats supported by '($P('.
@.@2 8reaing and Using a 2edia E3p-orer 6aabase
<ithin the edia (+plorer Chortcuts panel you can create your own database @or databasesD to further
customi;e how your samples and media files are organi;ed and displayed. Ane benefit of this is that it lets you
display together files that might be
stored in different folders.
For e+ample, you might use different
folders for various types of drum
samples @snare, kick, hi hat, etc.D.
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 6Drums Parious7 and add all of
these folders to that database.
Databases are set up and managed using right-click conte+t menus in the 5#orcus column.
/n order o do #is = 6o #is =.
8reae a daabase
'ight-click over empty area in Chortcuts column.
Choose 8reae ne% daabase... from the menu. Type a name, press
Ener.
Add fo-der conens o
daabase
Celect database in Chortcuts column.
'ight-click over its name and choose Add pa# o daabase = from
menu. >avigate to reGuired folder, select it and click on (H.
'epeat this to add more folders.
Re'ove a fo-der conens
fro' daabase
Celect database in Chortcuts column.
'ight-click over its name and choose Re'ove pa# fro' daabase...
from menu. >avigate to reGuired folder, select it and click on (H.
8#ange daabase na'e
Celect database in Chortcuts column.
,se Rena'e daabase... command on conte+t menu.
Updae daabase conens
o ref-ec c#anges in fo-der
conens
Celect database in Chortcuts column.
From conte+t menu use 5can daabase for ne% fi-es to search for and
add new files, Re'ove 'issing fi-es fro' daabase to remove
deleted files.
Re'ove a daabase
Celect database in Chortcuts column, use Re'ove daabase command
from conte+t menu.
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@ - Recording %i# REAPER
@.@@ 5eing a 6efau- 2edia E3p-orer Acion
Chown here is the edia
(+plorer Aptions menu. ost of
the commands and options on
this menu reGuire no further
comment, but one that does is
6efau- acion Edoub-e-c-ic&
or ener &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
5ar Previe%, /nser 'edia
on se-eced rac&, /nser
'edia on ne% rac&.
For .RPP files, you can also
choose between (pen pro9ec in curren ab and (pen pro9ec in ne% ab. This enables you to open any
e+isting pro?ect file easily from inside the edia (+plorer.
@.@4 /'poring 2u-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
Conar, 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('Hs edia (+plorer window, or even from <indows
(+plorer. Cpend some time e+ploring the options under (pions> Preferences> 2edia @not $ppearance,
ediaD. These are summari;ed and e+plained in Chapter %R. Lowever, in particular you should be aware of the
choices that you have when importing multiple media items
Jour four options as the default behavior when you import more than one item together are1
/nser in one rac& Eadvancing i'eF F each is placed one after the other in the same track.
/nser across rac&s F each item is placed in a separate track, all starting together.
6ecide auo'aica--y F if files are of the same length @file si;eD they will be placed in separate
tracks, otherwise they will be inserted seGuentially in the same track.
Pro'p user F you will be prompted each time to indicate whether to insert the items on separate
tracks or seGuentially on a single track.
@.@A /'poring Par of an Audio Fi-e
To import part of an audio file into your pro?ect,
simply follow this procedure1
%. Celect the file within edia (+plorer.
!. Click and drag along the waveform preview
to select the portion that you want to
import.
0. 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 8r- A- while dragging and dropping your selection for either of two special purposes1
To a track in arrange view to render the selection as a new loopable file, inserted into that track.
To a sampler plug-in or other application to e+port the selection, tempo matched to the sampler.
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#0
Up and Running: A REAPER User Guide v 4.72
@.@? /'poring 2/6/ 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 track9s F: chain. Jou can then select any )D) file in edia (+plorer and
preview it. Jou can also select any part of a )D) file to import1 use the same techniGue 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 E3pand option, the file will be imported
as a series of separate tracks, one for each channel.
Atherwise, the material will all be imported onto different
channels within a single )D) track. Jou have also the
options of merging the )D) files tempo map to the pro?ect
tempo map and2or importing any )D) markers @if presentD as pro?ect marekers.
There are several methods available to you to then assign these tracks to an e+ternal synth for output @to
enable you to play the songD. This is one suggestion1
%. $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.
0. )nsert a synthesiser @such as 'eaCynthD into the F: chain for the folder track.
&. Cave and play the file.
Jou9ll learn more about folders and how you create them, set them up and use them in Chapter &.
@.@7 /'poring 2edia fro' Audio 86
Jou can use '($P('9s edia (+plorer to import into a pro?ect material from an audio CD @such as you might
play on a CD playerD. 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 seGuence1
%. )nsert an audio CD into your PC CD drive and
wait for it to be read.
!. Display the edia (+plorer, select 2y
8o'puer in the left panel, then double-click
in the main panel on the letter which
represents your CD drive.
0. 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 7:.
&. To play @previewD any track from the CD, right click over that track then choose Previe% from the conte+t
menu @see aboveD. Depending on whatever software is on your computer, you may also see some non-
'($P(' related commands below this.
Q. 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 Cection 0.0".
$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.
@.@B Recording %i# Audio F7 P-ug-ins
$udio effects @F:D 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 you9ll find more about it elsewhere @for e+ample, in
Chapter %&D. Lowever, '($P(' does allow you to add effects to material as it is being recorded if you wish. ,se
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@ - 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 @if at allD. The procedure for recording with F: is as follows1
%. $rm the track for recording and select the reGuired audio or )D) input device in the usual way.
!. 'ight-click on the 'ecord $rm button and choose +rac& inpu F7 c#ain from the conte+t menu. This
causes the Add F7 o +rac& window to be displayed.
0. Celect any effect reGuired, then click on (H. Cet the parameters for this effect.
&. ,se the Add button to add any additional effects.
Q. Close the F: window.
O. $udition the performance and the effects as necessary @see comment belowD, then record the track in
the usual way.
(ffects placed in a track9s 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.
@.@C Recording a +rac&Ns (upu
There could be any number of reasons why you might wish to record a track9s output. Ane 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. Lere is an
e+ample of how you might do this1
%. 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.
0. Celect Record: oupu then your reGuired option.
ost likely this will be mono, latency compensated.
&. Celect /npu: 2/6/, then select your input device
from the available options.
Q. ake such ad?ustments as you need @for e+ample to
the synthesi;er parametersD while you audition the
music.
O. <hen ready, record.
#. Ctop recording when finished.
@.4! Recording F7 (n +#eir (%n
Jou can record a track9s 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. Lere9s an e+ample1
%. )n a pro?ect file, select a F7 4us track and arm it for recording.
!. Jou might wish to also turn up the trackHs Receives to get a good strong signal F you can always turn
down the volume when playing it back later.
0. Cet the track to 2onior /npu and chose a Recording 2ode. This is likely to be (upu> 5ereo.
&. Play the song and monitor the signal level.
Q. 'ewind to start and press 'ecord.
O. Ctop recording when finished.
+ip1 )f you do this, you will most likely want to set the track9s F: to bypass mode after doing so. )t is
nevertheless a good idea to leave the F: inserted in the trackHs F: bin, as a record of how the F: was produced.
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#Q
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@.4" Recording %i# E3erna- *ard%are F7
'($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. Jou use a plug-in called Rea/nser. )f you
want to try it out step by step, create a new '($P(' pro?ect file, insert a track, then get your F: device ready.
E3a'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. NetHs
record a vocal with the F: on it.
0. Connect your microphone to an otherwise unused audio input. Cwitch on the F: Device.
&. $rm the track for recording.
Q. Celect the input device @to which the line or microphone is attachedD, select 2onior /npu and specify
that you want to Record (upu and choose your reGuired option @such as 2ono> ,aency
8o'pensaedD, ?ust as we did in
the section Recording a +rac&;s
(upu.
O. >ow display the F: <indow for
this track, and add the F7
V5+:Rea/nser to this window
@see rightD.
#. Cpecify the actual Lardware Cends
and 'eturns that you set up at
steps %. and 0.
5. ake sure the F: Device mi+ is set
to %""K Dry, and within 'ea)nsert
enable the option Auo'aic
device -aency ad9us'en .
This enables '($P(' to calculate
the reGuired degree of delay
compensation.
R. <ith the trackHs output directed to
your headphones, monitor the
reGuired Polume and F: Nevels,
including the F: <et2Dry mi+.
%". <hen you are ready, 'ecord.
%%. <hen finished, donHt forget to disarm the track and set the 'ea)nsert plug-in status to 4ypass.
@.42 Preference 5eings for Recording
The Recording page of the Preferences window can be used to specify a number of options about '($P('Hs
recording behavior. $vailable options include1
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 havenHt, for e+ample, forgotten to arm one or more tracks. Jou can also specify a
screen update freGuency.
<hen to build the peaks for recorded media files.
To automatically display the whole Track Control Panel @including P, metersD when a track is armed.
<hether to prompt to save2delete2rename files when recording is stopped. )f you disable this option, files
are automatically saved.
<hether to prompt to save2delete2rename files on punch out. )f you disable this option, files recorded by
this method are automatically saved.
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#O
@ - Recording %i# REAPER
<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,.
Prevent recording from starting if no track is armed. Jou may wish to turn this off if you are using layered
recording for a track @or tracksD where recording is not reGuired to start until some way into the song.
<hich items to include in the file names for recorded media F you can include any combination of the
track inde+ number, the track name and the time stamp @or none of theseD.
To check for free disk space before recording, and to display the amount of free disk space and2or
recording path on the menu bar.
@.4@ +rac& Preferences for Recording
The '($P(' +rac& 6efau-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 Pro9ec> +rac&$5end 6efau-s page of the
(pions> Preferences window. Cettings on this page include1
The default gain level for the
trackHs 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. Aptions include,
to turn on by default )nput
onitoring and specify default
record input settings.
<hich 'ecord ode should be the default for new tracks.
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##
Up and Running: A REAPER User Guide v 4.72
>otice also that under (pions> Preferences> Appearance> VU 2eers$Faders there are settings which
together determine how your track P, meters are presented.
For e+ample, you can choose whether or not to 5#o% rac& inpu %#en record ar'ed and to 2a&e
obvious #a rac& inpu is
c-ic&ab-e. Disabling this latter
option may improve the clarity of
the display on your P, meters.
(nabling 5#o% db sca-es on
record ar'ed rac& meters and
5ic&y 8-ip /ndicaors helps you
to monitor peak levels. )D) users
may wish to 5#o% 2/6/ ve-ociy
on rac& VU and2or 5#o% 2/6/
oupu aciviy on rac& VU.
Jou can also specify whether to
Rese pea& indicaors on p-ay$see&. )f enabled, the numeric peak indicators on track and master P,
meters will cleared when playback is restarted or the play cursor moved.
@.44 Recording %i# 2i3ed For'as
'($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 Pro9ec 5eings.
To change these for any track, simply
right click over the trackHs P, meter, then
from the menu choose +rac&
Recording 5eings.
Jou can choose any of the formats
)AV, A/FF, 2on&eyNs Audio, F,A8,
2P@, (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.
@.4A REAPER Audio Recording 8#ec&-is
The following checklist is for guidance only. )n some cases you may vary the suggested order @e.g., you can
switch on your PC and start '($P(' before getting together your microphone and leadsD. )n other cases the
order is critical @e.g. you should always connect your microphone to your preamp before turning on the
phantom power supplyD. )f you are not sure, keep to the e+act same seGuence outlined here.
/e' 8o''en
Preparaion
Cet up all e+ternal recording eGuipment needed @microphones, stands etc.D.
$ll faders and gain controls on mi+er and2or sound device turned right down.
Phantom power @if availableD turned off.
(verything connected that needs to be connected @e.g. microphone leads to
mi+er or sound deviceD.
Turn eGuipment on, but check volume on speakers isn9t too loud.
Connect headphones to headphone amp or sound device.
)f phantom power reGuired @for condenser microphoneD, turn it on.
P8 Pre-i'inaries
Turn on PC and wait for <indows to open.
Apen '($P(' with reGuired pro?ect file. Cave file.
Pro9ec 5eings
Check recording format and settings F e.g. !& bit <$P at &&%"" L;.
)s a different format reGuired for this track3
ake sure 'ecord ode is set to >ormal.
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@ - Recording %i# REAPER
/e' 8o''en
+rac& 5eings
>amed and armed for recording3
Track )nput onitoring on or off3
,se the Cound CardHs direct input monitoring if
available in preference to '($P('Hs.
'ecord )nput selected3
Correct input channel selected3
+es Recording ,eve-s
Ctart low and work up.
'ecord a small sample
to test levels1 the
e+amples here show too
low, too high and about right.
)t is better to be too low than too high.
Recording
Press 8r- R to record and again to stop recording when finished. Cave media
items. Press 8r- 5 to save pro?ect file.
Eva-uaing
,narm track before playing back recorded tracks to evaluate them.
(specially if listening thru headphones, disable )nput onitoring @or turn faders
and gain controls on the input device right downD, to prevent live ambient
sounds from being mi+ed in with your recorded material.
@.4? Recording an /nerne Audio 5rea'
Jou 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. Jour 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 5ar button, choose Run, then type sndvo-@2 Or and press Ener. )n overview,
these are the steps that you will need to perform.
%. $ccess your sound cards control software and modify its settings to select @depending on the options
availableD the reGuired option. Jou should probably temporarily disable input from all other sources
@icrophone, Nine, etcD.
!. Apen your web browser and find the page containing the item that you wish to record.
0. Apen '($P(', create a new file and add a track.
&. The ne+t step may reGuire a little e+perimentation. Depending on the eGuipment you are using, it might
be necessary to change your (pions> Preferences> Audio> 6evices settings to 6irec 5ound. $n
e+ample is shown here. These settings may not be the best for your particular system.
Q. $rm your track for recording, making sure to select the correct input.
O. Press 8r- R to start
recording. )n your web
browser, play the item
that you wish to record.
<hen finished, stop
recording and save your
work.
<oe: DonHt forget when you
have finished, to restore both
your Cound Card 'ecording
Control options and '($P('Hs
$udio Device Preferences to
their previous settings.
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#R
Up and Running: A REAPER User Guide v 4.72
@.47 8onvering Audio 2edia /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. Jou have a part recorded pro?ect of perhaps Q" 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. Jou9d 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.
Lowever, your
recorded
material so far
comes to over
0 .= and she
doesn9t have a
particularly fast
internet
connection.
Ane solution
could be to
convert the files
to a
compressed
format and
send her those.
There9s a Guick
way to do this,
using the Fi-e>
5ave pro9ec
as = command. Choose this command and follow these steps.
%. )f you wish, navigate to a reGuired parent folder.
!. (nable the three options to 8reae subdirecory for pro9ec, 8opy a-- 'edia ino pro9ec
direcory, and 8onver 'edia.
0. Click on the For'a... button to display the settings bo+ shown above.
&. (nable the option @top leftD 5e for'a o save as.
Q. Celect your reGuired format @e.g. FN$C, P0 or, as shown here, A.. PorbisD.
O. Cpecify your preferred format settings.
#. Click (H then 5ave.
$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.
Jou 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 %5.
@.4B 2edia Fi-e /'por For'as
Files can be imported into '($P(' in any of the following media formats.
CD $udio @.CD$D
DDP @.D$TD
FN$C @.FN$CD
)D) @.)DD
)D) Cystem (+clusive
essage @.CJ:D
)D) Baraoke @.B$'D
P(. $udio @.P!, .P0D
A.. Porbis @.A.., .A..D
'ecycle @.':!, .'(:, .'CJD
$P) Pideo @.$P)D
P. Pideo @..,.P(.D
<P2<$ Pideo
@.<$, .<PD
B Pideo @.BPD
NCF Capture Pideo @.NCFD
Euicktime @.AP, .ET, .&P,
.P&D
<eb @.<ebD
<$P @.<$P, .<O&, .=<FD
$)FF @.$)F, .$)FFD
<$PP$CB @.<PD
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5"
4 - Pro9ec Arrange'en 4asics
4 Pro9ec Arrange'en 4asics
4." 2anaging +rac&s
)n Cection !, we introduced some very basic '($P(' track
management features, such as Polume, Panning, ute and Colo.
)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
@rightD shows these.
'emember that at any time you can use 8r- Q to undo your last
action. '($P('Hs ,ndo capabilities are described in more detail
later in this section.
+ip1 =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# E6/+5.RPP. Jou can
then use this file to try out and e+periment with some of the
ideas presented in this section.
4asic +rac& 2anage'en
$ number of techniGues can be used for carrying out these various track management tasks.
+as& 2e#od
2ove a rac& up or do%n
#e rac& order
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.
2ove %o or 'ore ad9acen
rac&s up or do%n
Click on the track number for the first track, then hold 5#if while clicking
on the track number@sD 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.
6e-ee a rac& Click on or around the track number, the press 6e-ee, or right click and
choose Re'ove rac&s. $ll media items are removed with the track.
6e-ee %o or 'ore rac&s ,se 8r- with the left mouse click to make your selection, then press
6e-ee, or right click and choose Re'ove rac&s. $ll media items are
removed with the tracks.
8opy a rac& as #e ne3
rac&
'ight click over the track number, choose 6up-icae se-eced rac&s. $ll
media items are duplicated with the track.
To do this with more than one track, select all reGuired tracks first.
8opy a rac& o a specified
-ocaion
Click on the track number. Press 8r- 8. ove to the reGuired location
then press 8r- V. $ll media items are duplicated with the tracks.
To do this with more than one track, select all reGuired tracks first.
6isp-ay #e 2aser in +rac&
Vie%
'ight click anywhere in the Track Control Panel area, below the last track.
Choose 5#o% 'aser rac&, or use the keys 8r- A- 2 to toggle.
2a&e #e +rac& 8onro-
Pane- %ider$narro%er
Click and drag right2left 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.
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4.2 +rac& 8onro- 2odifiers
Four of the items used when auditioning tracks are
the Vo-u'e> Pan> 2ue and 5o-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
@from the pan fader right-click menuD. This will be discussed in
Chapters %" and %%.
=y default, volume and pan faders control audio output. )f you wish
instead to use them for data on )D) channels for any track@sD you
should first select the tracks, then right-click over the track number
and choose 2/6/ rac& conro-s then one of the ,in& rac&
vo-u'e$pan o 2/6/ options from the menu @see Chapter %!D.
Vo-u'e and Pan 8onro-s
2odifier Hey %i# Vo-u'e Fader %i# Pan Roary
A- <hen mouse is released, fader returns to
its original position.
<hen mouse is released, fader returns to
its original position.
8r- 5#if <ith more than one track selected, only
the current track is affected.
<ith more than one track selected, only
the control for the current track is affected.
8r- $llows more precise control of fader level. $llows more precise control of fader level.
6oub-e c-ic& 'eset to ;ero. 'eset to centre.
2ue and 5o-o 8onro-s
2odifier Hey %i# 2ue 4uon %i# 5o-o 4uon
5#if <hen more than one track is selected,
only the current track is toggled.
<hen more than one track is selected,
only the current track is toggled.
8r- Clears all mutes. Clears all solos.
A- ,nmutes selected track@sD, mutes all
others.
Colo selected tracks only, e+cludes output
from any sends.
8r- A- utes selected track@sD, unmutes others. Colo e+clusive1 Colos selected track@sD,
unsolos all others.
8r- 5#if >ot applicable Toggles Colo Defeat mode for the track or
track selection. Cee below for more
information.
5o-o 6efea
Colo 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 2ue and 5o-o conro- cone3 'enus
The options shown above are also available by right-clicking over the ute
and Colo 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.
4u-& +rac& 2ue$5o-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 unmute2unsolo all muted or soloed tracks within a range.
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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
track9s 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. Jou can change this behavior if you wish on the 2ouse 2odifiers page of your
Preferences. For more information about customi;ing mouse modifiers, see Chapter %0.
4.@ 5o-o /n Fron
The solo in front feature allows you to hear the rest of your pro?ect Guietly in the background when a track or
track selection is soloed. This feature is toggled on and off by the (pions> 5o-o /n Fron command.
The level at which the
background tracks are heard
can be specified via the
Aptions, Preferences, $udio
settings page. >otice that this
setting @in the above e+ample it
is set at %5d=D determines the
number of decibels by which
the background mi+ is reduced.
This means that the higher the
setting the Guieter the
background mi+ will be heard
and vice versa.
4.4 5earc#ing #e Preferences 5eings
Jou have already come across a number of '($P('Hs 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. Jou 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
isnHt the item that
youHre 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.
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Up and Running: A REAPER User Guide v 4.72
)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.
+ip1 =y default, double-clicking on a track number will cause all media items on that track to be selected. Jou
can change this, and2or add mouse modifiers of your own via the Ediing 4e#avior> 2ouse 2odifiers
preferences page. For e+ample, you could assign A- 6oub-e-c-ic& to the action Piew1Toggle track ;oom to
ma+imum height. )nstructions for customi;ing mouse modifiers can be found in Chapter %0.
4.A +rac& 8o-ors
=esides keeping tracks together in folders, you can use color as an effective means of helping you visually
identify the relationship between different tracks. To do this, simply select the track @or tracksD in the Track
Control Panel, then right click, choose the 8uso' +rac& 8o-ors command, then use any of these commands
from the submenu1
8o''and Effec
5e rac&s o cuso' co-or= Apens a Color Celection dialog bo+ for you to select a color for the
trackHs media items.
5e rac&s o rando' co-ors Cets the media items for each track in the selection to a different
randomly chosen color.
5e rac&s o one rando' co-or Cets the media items for all tracks in the selection to the same
randomly chosen color.
5e rac&s o defau- co-or 'estores the track9s color to the default for the current color theme.
The illustration @rightD shows an
e+ample of how the 8o-ors interface
@displayed by choosing the 5e rac&s
o cuso' co-or= commandD can be
used to specify different colors for
different tracks and groups of tracks.
An the Appearance page of your
Preferences settings @Aptions,
PreferencesD you can use the +rac&
8onro- Pane- options to apply your
colors to the track label background,
the track panel background, or both.
Low the colors will be displayed for
your track media items will depend
upon which options you select on the
Appearance> 2edia page of your
Preferences settings. Jou can choose to
tint the waveform peaks and2or the
background. Jou can also set the color strength @between " and &D for
both selected and unselected tracks. ore details of these and other
$ppearance options are listed and e+plained in Chapter %R.
4.? 8o-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 (pions>
+#e'es command. Jou can modify the colors and other characteristics
of your preferred theme by going to the Appearance> +#e'e Edior
page of your Preferences settings. ore details of this can be found in
Chapters %" and %%. )n addition, a very large number of complete
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themes are available in the REAPER sas#. These are available for free download at sas#.reaper.f' Jou can
also visit the '($P(' ,ser Forums for more themes.
4.7 +rac& /cons
)cons can be added to tracks as you wish. Jou can drag your own .P>. or .TP. 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 8uso'
+rac& /cons then 5e rac& icon... from the track menu to use any of those supplied with '($P('. This
opens the ,oad /'age Resource dialog bo+,
from which you can make your selection and
click on (pen.
Chown 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 5#o% +rac& /cons in 2i3er. To
remove icons from any track or selection of
tracks, first select the tracks @in either the track
control panel or the mi+erD then right-click over
any selected track icon and choose Re'ove
+rac& /con from the menu.
)f you don9t care for the icons supplied with '($P(' F or you can9t find what you want F you can download
more track icon sets from the '($P(' stash, at sas#.reaper.f'
4.B *eadp#one 2onioring
<hile you are listening to and evaluating your various recorded items, itHs usually recommended practice to use
the monitors @speakersD in your studio or control room. Lowever, you may wish also to use headphones from
time to time, perhaps for those occasions when you need to focus in detail on a particular track or media item.
$ssuming that you have a PC) sound card or other audio device @Firewire or ,C=D which supports multiple
outputs, hereHs a neat little trick.
%. $ssign (upu 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.
0. 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. Af 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 @aboveD, the entire mi+ @from the asterD is being heard thru the ain Cpeakers, but
only track " Vo3 is also being heard thru the headphones.
'emember that you can right click over this grid cell to display the controls for this send @such as PolumeD. This
can be also a good techniGue 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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<hen you are mi+ing down, you might not wish to see all
of the available routing information available F it can get
Guite comple+. Jou 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 5#o% audio #ard%are as sources we have
simplified the display. )f you have installed 'ea'oute,
consider also disabling the options to 5#o% ReaRoue
as desinaions and 5#o% ReaRoue as sources.
4.C 8reaing a *eadp#one 2i3
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.
%. Connect your Leadphones to your Leadphone $mp, and your Leadphone $mp to one pair of outputs.
!. Create a new track and name it *eadp#one 2i3. Create sends to this track for any and all tracks that
you want to be able to monitor thru your headphone mi+.
0. Choose the (pions> Preferences command, select the heading Genera- then click on the Advanced
U/$5yse' %ea&s = button. (nable A--o% rac& enve-ope$rouing %indo%s o say open.
&. Click (H then (H again to close the Preferences window.
Q. Celect your *eadp#one 2i3 track and open the /( Rouing )indo%. $dd an Audio *ard%are
(upu to the paired outputs to which your Leadphone $mp is connected. Disable the 2aser$Paren
5end for this track.
O. Jou can now use the Pan and Polume faders for your receives, together with the ute buttons, to control
your headphone mi+.
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4."! 6isp-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
(pions> 5nap$grid> 5#o% grid command,
or the keyboard shortcut A- G.
.rid line settings are accessed by right-clicking
on the Grid button, or choosing the (pions>
5nap$grid> 5nap$grid seings 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 5.
5#o% grid disab-ed.
5#o% grid enab-ed.
Cpacing % beat, minimum !" pi+els.
.rid line thru items, arker line over
items.
Dotted grid lines not selected.
5#o% grid enab-ed.
Cpacing % beat, minimum Q pi+els.
.rid line under items, arker line over
items.
Dotted grid lines option selected.
5#o% grid enab-ed.
Cpacing % beat, minimum Q 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. @Frame rate is set in Pro?ect Cettings, see Chapter !D.
Nater in this guide @Chapter Q and OD, 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 4.72
4."" Undersanding 5ends> 4uses> 5ub'i3es and Fo-ders
Jou 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 @below rightD.
The sends that you create for each track carry a signal
to the =us track, which applies the effect, and then
sends the processed @wetD signal on to the aster. $t the same time, so long as the 5end 2aser$Paren
option remains enabled, the dry signal for each track is also sent directly to the master. Lere it is finally mi+ed
together with the 6wet7 signal from the bus before being directed to your speakers and2or headphones.
These two e+ample models use routing arrangements
that you would e+pect to find in probably any D$<
program. Lowever, we are now about to enter territory
where '($P(' may be substantially different from other
software that you may have used before. This relates to
how you can create and use submi+es.
<ith most programs, to create a submi+ @perhaps for
your various drum tracks or vocal harmoniesD 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.
Jou can use this method in '($P('.
Lolding the A- key while you click on
a track9s /( button will toggle on and
off the direct send to the master. )f a
track9s output to the master is enabled this is shown on the track control panel. )f disabled,
the word 2aser is dimmed. This distinction is shown on the left. )n the first @topD e+ample,
the output from the track to the master is enabled. )n the
second @bottomD e+ample, the output to the master has
been disabled.
Lowever, a smarter and potentially more powerful way of
creating a submi+ is to use folders @sometimes called track
foldersD. <e9ll look at how this is done shortly, but first
let9s get our heads around the concept.
$ folder track is created initially in the same way as any
other track. Jou then tell '($P(' to treat this as a folder
track - and essentially that9s it. Jou now have your submi+
@as shown here on the rightD. Direct output to the master
from the individual 6child7 tracks within the folder is
automatically disabled. )nstead, they are passed thru the
folder. >ote that you should not manually disable the
master2parent send for child tracks within a folder, or their
output will no longer go to the folder @the master trackD.
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4 - Pro9ec Arrange'en 4asics
$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, there9s one more scenario to consider.
(ven when you have a folder which contains a submi+ of other tracks, you can still use buses for the
folder itself or for individual tracks inside the folder
@see rightD. )n this case our folder @submi+D 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+. <e9ll see an e+ample of this soon.
There are three types of send F Pos-Fader
EPos PanF, Pre-Fader EPos F7D and Pre F7.
These are e+plained in Chapter %Q and illustrated
by the flow charts at the end of Chapter Q. For the
time being, accept the default option, Post-Fader
@Post PanD.
4."2 +rac& Fo-der Essenia-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. Jou can then use the Polume
control for the folder itself to control the overall combined volume level of the tracks in that folder.
$nother e+ample is that the 2ue and 5o-o controls for the folder will act on the folder as a whole. Lowever,
you do still have the option of using each trackHs individual ute and Colo controls.
The e+ample illustrated @rightD shows a folder called
/nsru'ens that contains three individual tracks. The
faint peaks that you see in the folder9s lane in arrange
view represent the combined contents of the folder9s child
tracks. This can be disabled on your Preferences,
$ppearance, Peaks2waveforms 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 track9s folder status. Ardinarily, this can be
one of four states1
$n ordinary top level track @the defaultD. The icon
is displayed as a faint image of a folder. Lover 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. Lover the mouse over this image and it changes
to an 7 @see rightD.
$ child track within a folder. The track is nested and the icon is displayed as a faint image of a folder.
Lover the mouse over this image and it changes to aJ @see below rightD
The last track in a folder. $ folder icon is shown
and the track is nested. Lover over this icon and
it displays a down pointing arrow.
Jou can click on this icon to set a track9s status. Net9s
work thru an e+ample.
#. Apen the file A-- +#roug# #e <ig#.RPP and
save it as A-- +#roug# #e <ig# Fo-der.RPP
5. ake sure the Po+ track is track %, .tr =ody track !, .tr >eck track 0 and =ou;ouki track &.
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R. Celect track %. Press 8r- + to insert a new track immediately underneath this track. This becomes track
number !. >ame this track /nsru'ens.
%". 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 8r- +. $ new track is added outside the
folder.
%0. >ame this track Reverb and insert ReaVerbae
into its F: chain. Drag and drop in turn from the
)A button of the Po+ track and the )A button of the
)nstruments folder to this 'everb track. This will
create two sends.
%&. Nower the 'everb track volume to about F %"." db
@see rightD and save the file.
%Q. Play the file. (+periment with some of the folder
controls. For e+ample, mute the folder and you
mute all instruments. Colo 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 reGuired to
cycle thru the various options until you see the one that
you want.
4."2." 6rag and 6rop Fo-der 2anage'en
$nother way of creating folders is by dragging and dropping. Jou 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 Guicker, but it can be
tricky at first. This process is illustrated below.
Lere9s the same pro?ect file as before @e+cept that this
time the 'everb track has already been addedD.
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 @see belowD.
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4 - Pro9ec Arrange'en 4asics
)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, and2or to remove them.
Lowever, the techniGue may take a little getting used to.
(+periment with this now if you wish.
>otice the small down pointing arrow ?ust above the
track number of the folder track @in this case Track!D.
This can be used to toggle the display of child tracks in
the folder between normal @as shown above leftD,
minimi;ed and collapsed @as shown below leftD.
4."2.2 <esed 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 that1
There is a top level folder called Po+ Tracks
which holds a Nead Po+ tracks and a
Larmonies sub-folder with four child tracks.
There is another top level folder called
)nstruments which holds two sub-folders
@Drum Bit and .uitarsD.
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 @'everbsD
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 Ather )nstruments folders.
'($P(' does not limit you two levels of folders. Jou can have more if you like. =e warned, however, that if you
do, life can get complicated*
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Up and Running: A REAPER User Guide v 4.72
4."@ +rac& and +rac& Para'eer 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. Jou 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 Guite simple to rather comple+, and everything in
between. (verybody will have their own different ways in which '($P('9s track grouping feature can be helpful.
Net9s look at some possible e+amples. These e+amples have been selected primarily for learning purposes. Jou
might or might not find the actual e+amples themselves to be useful for you.
Jou 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.
Jou 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.
Jou 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, we9ll work thru some e+amples. There are two
main ways to create and manage your groups. This can be
done either using the +rac& 8onro- Pane- or the +rac&
Grouping 2ari3. Lere is an overview of both methods.
ethod % uses the .rouping dialog bo+ @shown rightD, which
can be accessed from the Track Control Panel or the i+er
Control Panel. The method is as follows1
)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'eers from the
conte+t menu @or press 5#if GD.
<hen the .rouping dialog bo+ is displayed @see leftD
specify those parameters that you want to group, then
click on 8-ose.
ake sure that the option +rac& grouping enab-ed
on the TCP or CP menu is selected @tickedD.
Jou 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. ethod ! uses the +rac& Grouping
2ari3. This is illustrated overleaf.
The grouping matri+, which can be docked can be used to manage up to 0! different groups. To display this,
choose the Vie% command, then +rac& Grouping 2ari3, or press 8r- 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. Jou can
group any selection of tracks that you like1 in this e+ample, we will be working with two of three tracks enclosed
within a track folder. Af course, you do not need to place tracks in a folder in order to be able to group them.
4."@." 4asic +rac& Grouping
E3a'p-e
)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 %%.
%. Apen the file A-- +#roug# +#e <ig#.RPP and immediately save it as A-- +#roug# +#e <ig#
GR(UP5.RPP
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4 - Pro9ec Arrange'en 4asics
!. Celect Track % @Po+D and press 8r- + to create a new track immediately below it. >ame the new track
/nsru'ens. ,sing the techniGues 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. Cave this file. First, you need to make sure that the track grouping is enabled, Choose the +rac&
command from the main menu. )f +rac& grouping enab-ed @near the bottomD is not ticked, click on this
command to select it. )f it is already ticked, ?ust click on the '($P(' title bar.
0. Choose the Vie%> +rac& Grouping 2ari3 command to display the .rouping atri+.
&. Pan one guitar track about Q"K left, and the other Q"K right.
Q. )n .roup % on the .rouping atri+, click in the cells representing Gr 4ody and Gr <ec& in the
Vo-u'e column.
O. Click also in the cells representing Gr 4ody and Gr <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.
#. Jou 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.
5. Perhaps more interesting, when you now move the pan
control left or right for either of these tracks, the other
track9s pan fader will move in the opposite direction.
R. Cave the file.
%". >ow click in the cells for the two guitar tracks in the 'ue 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 5#if while you ad?ust the volume of one of the guitar tracks.
>otice only that one fader is ad?usted. Jou can use 5#if to temporarily
override any grouped track parameters.
%!. To temporarily disable the group altogether, click where shown @rightD on
the .roup % enable2disable toggle control. Jou will now find that all group
controls for this group are disabled.
%0. Click in this same cell again to again enable the group. Cave 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.
<oe: $ item9s group control status can be master only @D, slave only @CD or master2slave @the defaultD. )n this
e+ercise, all grouping has been of the default type, master2slave. <e9ll get to the other two options shortly.
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4."@.2 +rac& Grouping 2ari3 4asic 8onro-s
/n order o do #is = Using #e +rac& Grouping 2ari3
6efine #e rac&s in a ne% group Display the Track .rouping atri+. Celect at least one
parameter @such as PanD for each track in the group.
Ad9us a-- -in&ed faders for a group )n i+er or Track $rrange view, ad?ust the fader for any
one track in the group.
Ad9us #e fader for on-y one rac& in a
group conaining -in&ed faders
)n i+er or Track $rrange view, hold 5#if while ad?usting
the single fader.
6efine a pan or vo-u'e re-aions#ip as
reverse for a rac& %i#in a group
)n the track row, click on the intersection cell for Pan
Reverse or Vo-u'e Reverse.
8#ange an e3ising ogg-e para'eer
re-aions#ip Esuc# as 5o-o> 2ue or
Record Ar'F ino a reverse one
)n i+er view, hold 5#if while clicking on the appropriate
button @such as Colo or uteD for the individual track. ,se
5#if again to restore the positive relationship.
,in& 'ore para'eers for rac&s in an
e3ising group
Click on the intersection cells where the reGuired
parameter column meets the track rows.
Add ano#er rac& o an e3ising group Click on intersection cell where the reGuired parameter
column meets the row for the track that is being added.
Re'ove a rac& fro' an e3ising group 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.
Enab-e$6isab-e group Click in the group9s (nable2Disable bo+.
5e-ec a-- rac&s in a group Click on the group name.
4."@.@ +rac& Grouping /ndicaors
=y default, colored ribbons are used on the
Track Control Panel to identify grouped track
parameters @see rightD.
,nder (pions, Preferences, Appearance
there is a sub-section +rac& 8onro- Pane-s
whose contents includes the option to instead
use lines on the edges, or not to use any
indicator at all.
4."@.4 2aser and 5-ave Group Re-aions#ips
(ach parameter that is included in a grouped relationship can take one of three states F aster2Clave @the
defaultD, aster only, or Clave only. The different ways in which this affects that parameter9s behavior are1
$ aster2Clave item can control other aster2Clave and Clave only items, but not aster only items. )t
can itself be controlled by other aster2Clave and aster only items.
$ aster only item can control other aster2Clave and Clave only items, but not aster only items. )t
cannot be controlled by any other item
$ Clave only item cannot control any other item, but can itself be controlled by aster2Clave items and
aster only items.
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4 - Pro9ec Arrange'en 4asics
Don9t worry, this isn9t as complicated as it sounds. To make sense of it all, let9s work thru a couple of e+amples.
)n the previous e+ercise, all items within our group had aster2Clave status. This meant, for e+ample, that
when you ad?usted the panning or the volume on either of the two guitar tracks, the eGuivalent 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. Net9s now look at some different scenarios.
E3a'p-e
%. Apen the file A-- +#roug# +#e <ig# GR(UP5.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 Polume column for group % to add this to
your group. )t is assigned the default status of aster2Clave.
0. Click in the same cell again. The display changes to a letter
2. )t now has master only status. Click again, and the display
will change to 5 for slave only status @see rightD.
&. Abserve this track in the track control or mi+er panel. Jou will
see only one colored ribbon on the track9s volume control
@instead of twoD. )n the TCP this will be on the right, in the
CP @mi+er control panelD this will be at the bottom. This
indicates its slave status.
Q. Play the song. $d?ust the volume for either of the guitar
tracks, first up, then down. Abserve that because of its slave
status the volume of the bou;ouki track will be ad?usted with it.
O. >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, let9s change the
bou;ouki volume status to master only. Click on
that cell several times to cycle thru the options.
Ctop when it displays 2.
5. This is the opposite of what happened at step 0.
First, the colored ribbon indicator for this item is
now shown only on the left instead of the right.
This confirms its master only status @see rightD.
R. 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. Lowever, if you
ad?ust the volume of either guitar track, the other guitar track will also move, but the bou;ouki fader will
not.
%". Cave the file when you have finished.
4."@.A +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. Net9s now see how.
The .rouping window displays all group information about the various parameters for any selected track or
selection of tracks. ost commonly @and most usefullyD 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.
E3a'p-e
%. <ith the pro?ect file A-- +#roug# +#e <ig# GR(UP5.RPP open, select the Gr 4ody track in the
track control panel.
!. (ither right-click over the track number and choose +rac& Grouping Para'eers = from the conte+t
menu, or press 5#if G.
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Up and Running: A REAPER User Guide v 4.72
0. This causes the .rouping window for the selected track to be displayed @see below leftD.
&. )n the TCP, select the =ou;ouki track. The display in the .rouping window changes @above rightD, to show
the currently grouped parameters for the bou;ouki F in this
case, ?ust the master control on the volume track.
Q. )n this dialog bo+, click and select 2ue 2aser> 5o-o
2aser, 2ue 5-ave and 5o-o 5-ave. These group
parameters are now also selected for this track. This is
confirmed by the display in the track grouping matri+.
O. Ane more thing we can do here is to rename the group.
Click on the Rena'e button, type /nsru'ens and press
Ener.
#. Close the dialog bo+ and look at the track grouping matri+.
5. Cave this file.
Jou can define up to 0! 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 - Pro9ec Arrange'en 4asics
4."@.? +rac& Grouping )indo% 4asic 8onro-s
/n order o do #is = Using #e +rac& 8onro- Pane-
6efine #e rac&s in a ne% group
Celect the tracks in the Track Control Panel, press 5#if
G then select at least one parameter.
<a'e a group
Press 5#if G, select the reGuired group number and
click on Rena'e.
Ad9us a-- -in&ed faders for a group
$d?ust the fader for any one track in the group.
Ad9us #e fader for on-y one rac& in a
group conaining -in&ed faders
Lold 5#if while ad?usting the single fader.
6efine a pan or vo-u'e re-aions#ip as
reverse for a rac& %i#in a group
Celect the track in the Track Control Panel and press
5#if G. Click on Reverse Vo-u'e or Reverse Pan as
reGuired.
8#ange an e3ising ogg-e para'eer
re-aions#ip Esuc# as 5o-o> 2ue or Record
Ar'F ino a reverse one
Lold 5#if while clicking on the appropriate button
@such as Colo or uteD for the individual track.
,in& 'ore para'eers for rac&s in an
e3ising group
Apen the .rouping dialog bo+ for the group and select
the reGuired parameters.
Rese a rac&;s vo-u'e> pan or %id# o is
defau- va-ue and ad9us seings for o#er
group 'e'bers according-y
Double-click on the volume, pan or width value
displayed in the track panel.
Add ano#er rac& o an e3ising group
Celect the track in the Track Control Panel and press
5#if G. Display the drop down group list and select the
reGuired group.
Celect the reGuired parameters.
Re'ove a rac& fro' an e3ising group
Celect the track in the Track Control Panel and press
5#if G
,nselect all selected items e+cept Group enab-ed
Enab-e$6isab-e group
Press 5#if G, select the group from the drop down list
then click in the Group enab-ed bo+.
+ip: <hen you are playing back a song, in the course of editing you may from time to time
wish to reset your P, 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 P, meter in the TCP or
top of the P, in the CP. To clear all peaks, hold down the 8onro- key while you do this.
4."4 VU 2eers on 2u-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 track9s P, meters in the TCP and i+er.
This feature is toggled on and off for any
track or track selection by right-clicking
over the track panel area @for e+ample,
on the track numberD and enabling or
disabling 2u-ic#anne- rac&
'eering on the conte+t menu.
)n the e+ample shown here, a 4ig 2eer layout has been selected for this track in the mi+er.
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Up and Running: A REAPER User Guide v 4.72
4."A Audio 1ogging and 5crubbing
Togging and scrubbing are techniGues originated in the days when all recording was done with magnetic tape.
They help you to move within a pro?ect, or track, or group of tracks, to audition or locate a particular section.
This is usually done in '($P(' when your pro?ect is not playing, but you can over-ride this default setting.
To ?og 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. Jou can then click and drag in either
direction. JouHll probably find when ?ogging that you will want to ;oom in Guite
closely on your pro?ect.
=y default, holding down the 8r- key while ?ogging will enable 5crub mode.
)n this mode, playback will be much slower. This can help when looking for very
short glitches, for e+ample when ;oomed in close.
Jou can set your ?og2scrub preferences in the Audio> P-aybac& page of the (pions> Preferences window,
as shown below. >otice in particular that1
Jou can limit the ma+imum ?og2scrub rates @speedD to no more than normal playback speed. This makes it
easier to identify the audio material when ?ogging or scrubbing.
Jou can also
choose to be
able to engage
?og2scrub mode
to over-ride
normal
playback.
)f you enable
the (n-y p-ay
se-eced
rac&s option,
then only those
tracks currently
selected will be
heard when
you apply
?ogging or scrubbing.
Jou can modify '($P('9s ?og2scrub
behavior by opening the Preferences
window and using the ouse odifiers
page to define your own modifier keys
for (dit cursor handle left drag
behavior. The default assignments are
shown on the right.
,ooped seg'en 'ode can be used
to audition a section of your material
as a loop. For e+ample, if in Playback
preferences @above rightD you specify a
range of -%""" ms to %""" ms, then
holding A- while you click and drag
the edit cursor handle briefly left or right will ?og a two second portion of audio over and over for as long as you
hold down the mouse button.
Jou can also assign modifiers for ?ogging and2or scrubbing to your $rrange Piew middle mouse button drag
behavior. For more information about assigning mouse modifier preferences see Chapter %5.
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A - 2anaging +rac& and /e' F7
A 2anaging +rac& and /e' F7
<e have already covered the basic techniGues involved in using effects @Direct : and PCTD with '($P(' tracks.
<e are now going to look at some of the options available to help manage and use your F: more effectively.
<e9ll be looking in more detail at how you use some of the more important individual effects later @Chapter %&D1
in this section we9re mainly concerned with the broader issues of managing and organising plug-ins.
A." Grouping F7
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 Chorus2Delay and another called 'everb. )f there is a set of
plug-ins @for e+ample, =ootsyD that you use freGuently, you can create a separate group for them. Jou 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 (picPerb plug-in both in a group called 'everb and in a group called =ootsy.
+o creae a F7 group:
,se the command Vie%> F7 4ro%ser or the keyboard shortcut 5#if F to open the F: browser window.
'ight click over the te+t 2y Fo-ders where shown @see aboveD and choose 8reae ne% fo-der.
Type a name, then press Ener.
+o add F7 o a group:
Celect 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 reGuired F: from the right hand panel to the folder
where you want the F: to be listed. To drag multiple F:, use 8r- with
left mouse click to build up a selection, then drag them all together.
+o c#ange #e order in %#ic# F7 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.
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Up and Running: A REAPER User Guide v 4.72
Double click on any F: name within that group
@listed in the right hand panelD to add it to the
current track.
+ip: )f you leave the F7 4ro%ser open, you can add
any F: to any track simply dragging and dropping to the
reGuired track in the Track Control Panel @TCPD or i+er
Control Panel @CPD.
+ip: Jou 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 F7 from the menu, then select
the folder and finally the F:.
A.2 P-ug-ins 5eings
'($P('9s Plug-ins settings and preferences are
e+plained and discussed in Chapter %R. Jou can access
this settings page directly from any track9s F: Chain
window by choosing the command (pions> F7 P-ug-
ins seings = from the menu.
A.@ 4ac&ing Up F7 8#ains and F7 Preses
F: Chains and plug-in presets can be backed up and restored using the e+port2import configuration buttons in
'($P('9s Preferences @.eneral settingsD. Cee Chapter %R for more information about importing and e+porting
configuration settings.
A.4 Fi-ering +rac& F7
=y entering a te+t string in the Fi-er -is te+t
bo+ in the bottom left corner of the Add F7
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 8-ear Fi-er button can be used to remove
the filter and restore all plug-ins to view.
Jou also have two options @on the (pions
menuD which if enabled will ensure that your
filters are automatically cleared for you.
These are Auo c-ear searc# fie-d on fo-der c#ange and Auo
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. Jou 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.
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A - 2anaging +rac& and /e' F7
A.A 5#o%ing V5+ Fo-ders
)f you use sub-folders to organi;e effects within a <indows PCT
Plug-ins folder then you can display and use this folder structure
within '($P('9s F: =rowser @$dd F: windowD. This feature is
toggled on and off using the (pions> 5#o% V5+ Fo-ders
command. Jou can then select any folder listed in the left pane to
display its contents in the right pane of the F: browser.
Jou can right click over any displayed folder name @see rightD to display a menu of options which includes
5#o% fu-- pa#s o V5+s and /nc-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.
A.? Rep-acing (ne F7 )i# Ano#er
To replace any F: in a track9s F: chain, simply follow this procedure1
%. Display the track9s F: chain and select the F: in the chain that you want to replace.
!. From the F: <indow top menu choose the F7> Rep-ace F7= command. This opens the $dd F: window.
0. Celect the reGuired replacement F: and click on (H.
$ny pin connector assignments on the replaced F: will automatically be assigned to the new one.
A.7 8opying +rac& F7
$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. Jou can use standard <indows techniGues
like 8r- 8 and 8r- V if you like, but the simplest way is to simply select the reGuired 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 @track control panelD or the CP @mi+er control panelD.
E3a'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 F7 4uon for the track Gr <ec& to open the track9s F: <indow.
!. )nsert the V5+ ReaEPE8oc&osF plug-in into this window.
0. Lover the mouse over the te+t PCT 'ea(E 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 Gr 4ody track.
&. 'elease the mouse. The ReaEP plug-in will now have been copied into this track.
Jou can of course repeat this as often as reGuired 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 seGuence1
%. Click on the first plug-in to be selected. Lold the 8r- 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 5#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.
A.B F7 Puic& 6isp-ay
Track F: are listed on a track9s F: button right click menu @see rightD. Jou can
open the window for any of these F: direct from this menu.
A.C 2oving +rac& F7
To move @rather than copyD a plug-in from one track to another, simply hold
down the A- key while you drag and drop.
+ip: Lovering your mouse over any trackHs F7 button causes a tooltip to be displayed, listing the plug-ins
present in that trackHs F: bin. )t displays this information even if the F: chain is set to bypass.
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A."! 8#anging #e 6efau- F7 <a'e
To change the default name of any Direct : or PCT F: @but not TCD plug-in1
Display the F: =rowser <indow @Vie%> F7 4ro%ser or
5#if FD.
'ight Click over the plug-in to be renamed.
Choose Rena'e F7 from the menu.
Type the new name and press Ener.
A."" Rena'ing +rac& F7 /nsances
Jou can rename individual F: Plug-in instances so that your custom name is used for that F: in both Track Piew
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(E that has been added to a vocal as 6$dd warmth7 or 6ore presence7 and so on.
To do this, simply select the plug-in and
press F2, or follow this seGuence1
'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
F7 insance.
Type your custom name.
Press Ener.
>ote that your custom name will only be
applied to that single instance of the F: Plug-in in that one track. Ather instances will not be affected.
A."2 Using 6efau- F7 Para'eer 5eings
Jou 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 5ave prese as defau- from the
menu. Jou will need to enter a name for the preset. The use of presets is e+plained more fully in Chapter%&.
A."@ Per /e' F7
'($P(' allows you to apply F: not only to individual tracks but also to individual media items within a track.
Cuppose, for e+ample, that you wish to add an effect @such as reverb or delayD to ?ust part of a track. Jou 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 F7 and <o F7 item icons @(pions> Preferences> Appearance> 2ediaD
you can click on any item9s F7 button to open its F: window. This topic will be e+plained in more detail in
Chapter O. Atherwise you can select a media item and use the default keyboard shortcut 5#if E.
To add a plug-in to a media item1
Celect the edia )tem.
Click on the F7 button or press 5#if E to display the
item F: Chain. The Add F7 o /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 6fussy7 then try this. Jou can simply drag and drop any F: from the F7 4ro%ser
window straight on to any media item. Jou 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 @see aboveD.
+ip: Jou can also add new F: to an item, or open an e+isting effect for editing, by right-clicking over the item9s
F: button to display a conte+t menu @see aboveD.
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A - 2anaging +rac& and /e' F7
2anaging /e' F7 O 5u''ary +ab-e
+o do #is = .ou need o do #is =
Add a p-ug-in o an ie';s F7 c#ain Drag and drop from F: browser window on to the item.
(pen and vie% an ie'Ns F7 8#ain Celect the item, press 5#if E.
6e-ee an ie'Ns F7 8#ain a-oge#er Celect the first item in the chain then hold Chift while
selecting the last item. This will cause all items in the F:
chain to be selected. Then press 6e-ee.
8opy an ie'Ns F7 8#ain o ano#er ie' Celect the items, then drag and drop the F: from one
item to another.
)f the F7 button is visible, ?ust drag and drop from the
F: button on to the destination item.
Chown here are the settings which determine if and how the various buttons are displayed for individual media
items. <e9ll return to
this in detail in
Chapter O, but for
now ?ust notice that
available item icons
@buttonsD include its
lock and mute
status, its F: chain,
its notes and
properties.
)f you enable the
option 6ra% -abe-s
above #e ie'
ra#er #an %i#in
#e ie' then the
buttons will be
displayed @with the
item nameD above
the item. Jou can,
however, also
specify as an e+ception that )#en 'edia ie' #eig# is -ess #an -abe- #eig# the label should be moved
to inside the media item. )f you disable these options, the labels @if displayedD will always be superimposed on
the media item itself.
A."4 Using /e' F7 %i# 2u-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 6isp-ay 'edia ie' a&e
na'e and 6ra% -abe-s above #e ie' @both under
$ppearance, edia, see aboveD, 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 active1 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.
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%"0
Up and Running: A REAPER User Guide v 4.72
A."A (pi'iDing F7 Perfor'ance
Come plug-ins can be Guite 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 @8r- PD under the heading Audio> 4uffering. This window is shown and
discussed further in Chapter %R.
There is no 6one si;e fits all7 optimal group of settings. <hat is best for you depends on various factors,
including which processor@sD you are using and which plug-ins. Lowever it shouldnHt be too difficult to
e+periment. >ote in particular the following1
Try using the default settings for 2edia 4uffering at first. Jou can ad?ust them later.
A--o% -ive F7 'u-iprocessing. Try turning this on if your PC has multiprocessors.
Anicipaive F7 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 Cynchronous F: and ,$D-%
Cynchronous 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..
(pi'iDe buffering for -o% -aency #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 (pions on the Track Control Panel right-click menu.
A."? F7 <oes and 8o''ens
The '($P(' F: Chain window includes an area for any 8o''ens @or notesD that you may wish to make F 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 (E is selected for
Track !, the Po+ Nead.
Jou may add notes for
all or any of a track9s F: if you wish, but only one comment at a time will be displayed in the track9s F: window.
Jou can open the comments in a separate window of their own by clicking on that = button . Jou may have as
many as you wish of these comment windows open at any time.
A."7 )e$6ry 2i3 and 4ypass
The wet2dry 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 wet2dry
balance for that plug-in displayed as te+t @above rightD. $t %""K wet @the defaultD the plug-in is applied to the
track in the way that you would normally e+pect. Click and drag the mouse on this to ad?ust this value to create
a mi+ of the dry signal @the audio stream with no effect appliedD and the wet signal @the audio stream with the
effect fully applied. For e+ample, set to %""K, this mi+ is fully wet. $t "K it is fully dry @effectively sounding the
same as bypassD. $t Q"K the dry and wet signals are mi+ed together in eGual amount.
>otice also that the small check bo+ to the immediate right of this control has a bypass function. Neave it ticked
as shown and the effect @as determined by its various parameter settings including the wet2dry mi+ controlD will
be applied to the track. ,ntick this bo+ and the effect is bypassed.
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A."B P-ug-in 6e-ay 8o'pensaion
=y default, '($P(' uses plug-in delay compensation @PDCD 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 track9s F: chain window. For e+ample, a
display of !QO2Q%! spls would mean that one of the F: reGuires a
latency of !QO samples1 '($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 @for e+amples, dropouts or e+cessive latencyD
then it can be disabled for any plug-in from the pin connector button @shown here labelled 6! in ! out7D conte+t
menu. >ote too that PDC is disabled when feedback routing is employed.
A."C (pening a Fi-e in Recovery 2ode
$ny computer program will crash given the right @or wrong3D 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 PCT, PCTi, D: or D:i plug-in.
)f this happens, you should enable the
option to (pen %i# F7 off-ine Erecovery
'odeF when re-opening the file from the
Fi-e> (pen pro9ec dialog bo+ @see rightD.
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 eGuivalent functionality.
$nother method is to hold down 8r- 5#if while you open a file from the Fi-e> Recen pro9ecs menu.
A.2! 5e' Rendering
Ctem 'endering is a techniGue 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 track1
%. )n the +rac& 8onro- Pane- area, right-click over the track number.
!. From the menu, choose Render$freeDe rac&s, then one of the Render rac&s o = se' rac&s
Eand 'ue origina-sF
commands. Jour choices
are 'ono, sereo or
'u-ic#anne-.
The first of these commands
will render to a mono item @as
shown hereD. 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 ! channels1 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.
Ctem rendering has a similar effect to free;ing tracks @see section after ne+tD. Ane main difference is that
@unlike free;ingD 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.
Ctem rendering is also available with an e+tensive range of options @such as output format and GualityD using
the Fi-e> Render... command. This opens the Render o Fi-e dialog bo+. Cee Chapter %5 for details.
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%"Q
Up and Running: A REAPER User Guide v 4.72
A.2" Rendering a Group of +rac&s o a 5ing-e +rac&
This e+ample uses the Render o Fi-e dialog
bo+, which is e+plained in detail in Chapter %5.
Jou can apply stem rendering to a group of
tracks, so that they will be mi+ed down to a
single audio file. To do this1
%. Put the reGuired tracks in a folder.
!. )n the Track Control Panel, select the
folder. >o other track should be
selected.
0. Choose the Fi-e> Render command.
&. ake sure your selected options include
5e's Ese-eced rac&sF and
Channels 5ereo or 2ono @as you
wishD as shown on the right. )f you
wish, also select the option to Add
ie's o ne% rac&s in pro9ec
%#en finis#ed.
Q. Celect your output format @e.g. <$PD
and format specifications @e.g. !& bitD.
O. 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. Jou will need to select the reGuired
number of channels from the Channels drop
down list in the Render o
Fi-e dialog bo+.
Jou9ll learn more about file
rendering, including
multichannel rendering, in
Chapter %5.
A.22 FreeDing and UnfreeDing +rac&s
The FreeDe rac&s actions @from the Track right
click menu Render$freeDe rac&s commandD 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 @rightD will produce
a 'ono audio item, the second sereo and the
third 'u-ic#anne- @according to the number of
track channelsD. )f more than one track is selected, each will be rendered separately.
An 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. Ather points to note are1
$ 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#ed0
%"O
A - 2anaging +rac& and /e' F7
free;e the track again, these F: @along with audio and or )D) material from the new receivesD 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& 2anager
Free;ing can also be handled using
the +rac& 2anager. Choose
+rac& 2anager from '($P('9s
main Vie% menu.
Jou can select any track@sD from
the list @in the e+ample shown,
tracks 0 and & are selectedD then
click on the FreeDe button for a
menu of free;e choices @mono,
stereo or multichannelD.
The number of times any track has
been fro;en @up to a ma+imum of 5D
will be shown in the Free;e column.
)n this e+ample @rightD, tracks 0 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 @see
aboveD.
Jou can read more about the Track
anager in Chapter %%.
5e-eced F7 FreeDe
Ather options, available from a track9s 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: @'eaComp and 'ea(ED have been selected. The
action FreeDe rac& o sereo> up o -as se-eced F7 will cause the compression and (E to be fro;en on to
the track. These two F: will be removed from the track9s F: chain. The third @TCD 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.
Ane useful action @accessible from '($P('9s $ction Nist windowD is Vie%: 5#o% rac& freeDe deai-s. This
can be used to display free;e history and details for any fro;en track. Chapter %0 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 /0" go to ,U,U.co'
%"#
Up and Running: A REAPER User Guide v 4.72
A.2@ Audio 5igna- F-o% 8#ar: +rac&s and Fo-ders
The two diagrams that follow @in this section and the ne+tD illustrate how audio signals flow thru '($P('9s
tracks to the master and to your output devices. Come of the items shown in these charts @e.g. )tem2Take
settingsD have not yet been discussed in this ,ser .uide. They will be covered later, mostly in Chapter O.
<oes:
%. The track mute button is shown more than once @near the beginning and near the end of the chainD. This is
because it does not only mute at the beginning @so that for e+ample, all media items are effectively mutedD, it also
mutes at the end @so that, for e+ample, a synth in the track F: chain that is fed )D) data via a receive from another
track is also mutedD.
!. )f track mute and track solo buttons are both enabled, then solo overrides the mute.
0. )f the aster is soloed, direct outputs to hardware from tracks2folders will not be processed.
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A - 2anaging +rac& and /e' F7
A.24 Audio 5igna- F-o% 8#ar: 2aser +rac&
This diagram illustrates specifically the audio flow for the aster Track.
A.2A *ard%are (upu F7 2onioring
To open the F7: 2onioring window you can1
Choose 2onioring F7 = from the conte+t menu of any pro?ect tab, or
Click on the 2onior F7 button at the end of the pro?ect tab bar @if you are using pro?ect tabsD, or
,se the Vie%> 2onioring F7 command from the main menu, or
Lold 5#if while clicking on the F: button of the aster track.
This F: window is the same as any track F: window. Jou 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 include1
<hen running analysis F:.
Compensating for the acoustic characteristics @perhaps with (E or reverbD of a particular room.
>otice that1
Jou 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 F7:2onioring 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 /0" go to ,U,U.co'
%"R
Up and Running: A REAPER User Guide v 4.72
A.2? Verica-$*oriDona- F7 +ree 6isp-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.
Pertical layout
Lori;ontal layout
A.27 +rac& +e'p-aes Revisied
Don9t forget that as well as saving F: chains by themselves, you can include them with other track settings
@such as name, pan settings, volume levels, etc.D into track templates. 'emember too that you can use the
+rac&> 5ave rac&s as e'p-ae command to save a whole selection of several tracks into a single track
template. Cee also Chapter 0.
A.2B ReaEffecs User Guide 5upp-e'en
Jou will find many e+amples in this ,ser .uide of the use of various CACBAC effects, especially in Chapter %&.
)n addition, a free PDF 'eaper CACBAC (ffects Cummary guide can be downloaded from the following ,'N1
#p:$$%%%.coc&os.co'$Kg-aDfo-&$ReaEffecsGuide.pdf
>ote that this link is case sensitive.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
%%"
? - Ediing +rac&s and /e's
? Ediing +rac&s and /e's
?." Using an E3erna- Edior
Jou can specify up to two third party programs @such as $dobe $udition, $udacity, <avosaur or Cound ForgeD
which you wish to integrate with '($P(' for editing your media items. To do this1
%. Choose the (pions>
Preferences command, then
E3erna- Ediors.
!. Click on the Add button
0. ,se the 4ro%se buttons
@shown rightD 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. <$P, P0, idi.
+o use your e3erna- %ave edior:
There are two main ways you can access your preferred e+ternal editing program from within '($P('1
Celect the media item and press 8r- A- E.
<ithin a '($P(' pro?ect, right click over the media item that you wish to edit. From the menu, choose
either (pen /e's in edior then, from the sub-menu, select either the option to open the item itself or
to open a copy of the item.
,nlike versions of '($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, Ediing 4e#avior>
2ouse 2odifiers page if you wish. This topic is covered in Chapter %0.
)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 '($P('.
?.2 Ediing /e's in REAPER
The topic of editing items in '($P(' is a big one. '($P(' features a comprehensive range of editing
techniGues for managing the items within your pro?ects. )f you have worked with other audio software, you
might find '($P('9s ways a little strange at first. The first Guestion you might have when you look at the screen
is, 6<here are all the editing tools37 The answer is I there arenHt any* $t least, there arenHt many the first time
that you use '($P('* =ut as you are about to see, that doesnHt mean that '($P(' isnHt up to the ?ob. Jou ?ust
get the wave editing features that you need, but without the screen clutter. <hat9s more, you can create and
add as many editing tools of your own as you like. <e9ll get to this in Chapter %0.
There are some basic concepts that you need to understand about '($P('Hs design philosophy and structure
before learning individual editing techniGues. For e+ample1
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
%%%
Up and Running: A REAPER User Guide v 4.72
)tem (diting in '($P(' is non-destructive. (dits made to items are uniGue per item and do not alter the
content of the source file. Jou can e+periment knowing that your original recorded files are safe.
)tem (diting in '($P(' basically consists of selecting an item, or a portion of an item @rangeD, then doing
something to it F such as splitting it, deleting it, copying it or moving it.
Cometimes a number of steps might be reGuired to achieve an editing task. )f so, you can assign a single
keyboard shortcut to the entire seGuence. Tust how to do this is covered in Chapter %0.
)f you really miss having editing tools, then fear not. Jou can Guite easily create your own tools and
toolbars for this @or any otherD purpose. This topic is covered in Chapter %0.
To a very large e+tent, you can customi;e '($P('Hs editing behavior thru the Ediing settings within your
(pions> Preferences window. <e9ll get to this later in this section.
)n a moment, we9ll be working thru '($P('9s many editing facilities and features. =efore we do, don9t forget
that when you are editing you have available not only the Edi, Undo command but also the Undo *isory
window @covered in Chapter !D. 'emember that if you get into trouble, this ,ndo Listory window can be used to
restore a pro?ect file to any earlier state. Low to enable these various options is e+plained in Chapter !.
?.@ REAPER;s 5'ar Ediing
'($P('9s smart editing features enable you to do many of the most commonly reGuired editing tasks Guickly
and easily. )n this section, we will look at smart editing techniGues for moving, copying and deleting media
items, selections of media items and parts of media items. To use them, make sure that the option ,oop
Poins ,in&ed o +i'e 5e-ecion is disab-ed.
The table below shows '($P('9s default behavior for various mouse actions. Jou can change any of these by
selecting the conte+t 2edia ie' and ,ef drag on the 2ouse 2odifiers page of your Preferences.
+o do #is %i# #e 'ouse = .ou need o do #is =
2ove ie' or se-ecion of ie's ignoring i'e se-ecion Drag and drop.
2ove ie' or se-ecion of ie's ignoring snap and i'e
se-ecion
5#if drag and drop.
8opy ie' or se-ecion of ie's 8r- drag and drop.
8opy ie' or se-ecion of ie's ignoring snap 5#if and 8r- with drag and drop.
2ove ie' conens E%i#in ie'F A- drag and drop.
Ad9us ie' pic# fine 5#if and A- drag and drop.
Render ie' o ne% fi-e 8r- and A- drag and drop.
8opy ie'> poo-ing 2/6/ source daa 5#if 8r- and A- drag and drop.
Chown 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 2ove ie' ignoring
i'e se-ecion to 2ove ie':
9us 'ove. This will enable us
to move any selected area of an
item ?ust by dragging and
dropping it. Jou9ll find more of
that in Chapter %0.
+ip: )f you accidentally move an item it can be restored to its original position by choosing /e' processing
then 2ove ie' o source preferred posiion from the media item right-click conte+t menu.
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? - Ediing +rac&s and /e's
?.4 5andard )indo%s Ediing
any of the basic editing tasks that you will be performing in '($P(' involve the use of fairly intuitive standard
<indows procedures for selecting and manipulating items. There are also some e+tra ones. Lere is a summary.
5e-ec /e's
Celect an item by clicking on the item.
Celect multiple items by using 8r- 8-ic&.
Celect ad?acent items by using 5#if 8-ic&.
Celect groups of items by right-clicking and dragging a marGuee around the items.
)t is not necessary to marGuee the whole of an item to select it @see above rightD.
The marGuee feature can, however, be made to behave differently by using any of a number of modifier
key options @see 2arIuee 2odifiers table belowD.
These techniGues can be used in '($P(' in several conte+ts F for e+ample, 8r- 8-ic& and 2arIuee can also
both be used to make multiple note selections in the )D) (ditor @see Chapter %!D.
5p-i /e's
Cplitting items is used in several '($P(' editing functions. =e sure to familiarise yourself with the following1
)f no item is selected, pressing 5 will do nothing.
)f item@sD are selected, pressing 5 will split all selected item@sD at the edit cursor position.
)f there is a time selection current, pressing 5#if 5 will split all selected )tem@sD 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
(pions> Preferences> 2edia page by disabling the option 6up-icae a&e F7 %#en sp-iing ie's.
*ea- 5p-i /e's
To reconnect media item that have previously been split1
Celect the media items in the track.
'ight click over any media item within the selection and from the menu choose *ea- sp-is in ie's.
Leal 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.
8u$8opy /e's
$part from smart editing @see previous sectionD there are other ways to copy or cut items in '($P('. These are
based on standard windows techniGues
,se the keyboard shortcut 8r- 8 to copy or 8r- 7 to cut any selected item@sD in its entirety. >ote that if
a time selection is current, 5#if 8r- 825#if 8r- 7 will copy2cut only that current time selection, not
the whole item. Jou can use the $ctions (ditor @Chapter %0D to change this behavior if you wish.
'ight-click on an item and select 8opy ie's or 8u ie's from the menu.
Celect an item, then select Edi> 8opy ie's$rac&s$enve-ope poins ignoring i'e se-ecion or
8u ie's$rac&s$enve-ope poins ignoring i'e se-ecion from the menu.
<oe: 8opying 2/6/ /e's in Arrange Vie%1 Cpecial considerations that need to be taken into account
when you are copying )D) @rather than audioD items in arrange view. These are e+plained in Chapter %!.
Pase /e's
,se 8r- V to paste an item at the cursor position. )f a track is selected, the item will be pasted into the
selected track. )f no track is selected, the item will be pasted into the last track that was selected in the
TCP. )f you give focus to the main arrange view window before pasting, a new track will be created.
Celect a track and use Edi> Pase to paste the item at the current edit cursor position.
8opy or 8u Par of an /e'
For those times when you prefer not to use smart editing you can use the <indows clipboard.
Celect the item then make the time selection.
To copy or cut the selected area, first make sure that focus is on the main arrange view window, then to
copy use Edi> 8opy ie's$rac&s$enve-ope poins %i#in i'e se-ecion or right-click on the item
and select 8opy se-eced area of ie's from the menu, or press 8r- 8, or
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To cut the selected area, use 8u ie's$rac&s$enve-ope poins %i#in i'e se-ecion or right-click
on the selected area and select 8u se-eced area of ie's from the menu, or press 8r- 7.
Celect a track in the TCP, position the cursor in arrange view and choose Edi> Pase from the menu.
6e-ee /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. Cee Chapter # for how to deal with individual takes.
,se the 6e-ee key to delete selected item2s.
'ight-click on a selected item and select Re'ove ie's. This will delete any selected items.
Celect /e'> Re'ove ie's from the main menu.
5#o% (ver-apping /e's /n ,anes
Jou 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 $uto Crossfade tool on
the toolbar. Crossfade behavior can also be managed using the Crossfade (ditor which will be e+amined later in
this chapter. Jou might also wish to enable 5#o% over-apping 'edia ie's in -anes on the (pions menu.
The ma+imum number of lanes to be used can be set on the Appearance page of your Preferences.
2ove /e's: 5pecia-
Chortcut keys e+ist for moving items in ways that might be difficult to control with the mouse. For e+ample1
6efau- 5#orcu Hey Purpose
<u' Pad " Clide item a little to the left
<u' Pad @ Clide item a little to the right
<u' Pad 4 ove item a little to the left
<u' Pad ? ove item a little to the right
<u' Pad B ove item up one track
<u' Pad 2 ove item down one track
<oe: This feature is often referred to as 6nudge7. <ith '($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 trackHs inde+ number in the Track Control Panel to select all the items in that track.
2arIuee 2odifiers
odifier keys e+ist for changing the marGuee behavior when you right-click and drag. =y default, these are11
2odifier HeyEsF Purpose
Rig#-c-ic& drag Eno
'odifierF
arGuee select items.
5#if Rig# c-ic&-drag arGuee add to item selection.
8r- Rig# c-ic&-drag arGuee toggle item selection
A- Rig# c-ic&-drag arGuee select items and time
5#if A- Rig# c-ic&-
drag
arGuee select items and time
ignoring snap.
Jou can change any of these modifiers and2or add others of your own choosing, using the 2ouse 2odifiers
page of your '($P(' Preferences. ore information about how to do this is given in Chapter %0.
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? - Ediing +rac&s and /e's
?.A Ediing 4e#avior Preferences
Familiarise yourself with '($P('Hs main editing behavior preferences and how they work. )f you do, you will find
life getting a lot easier* They are displayed on the Ediing 4e#avior page of the Preferences window. These
are e+plained in Chapter %R, but in short, some of
the most useful of these include1
<hether to move the edit cursor when
performing various actions F 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('9s ;oom behavior. Celecting 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 2edia ie' -ef c-ic& conte+t on the mouse modifiers page. The default
behavior for this is 5e-ec ie' and 'ove edi cursor but this can be changed to ?ust 5e-ec ie'.
?.? 5eparaing ,oop 5e-ecion Fro' +i'e 5e-ecion
The setting ,in& -oop poins o i'e se-ecion @on your Preferences, Ediing 4e#avior pageD 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. $t any time you can
override the default behavior by using the toggle command ,oop poins -in&ed o i'e se-ecion on
'($P('9s main (pions menu. (ven when this option is disabled @i.e. not tickedD, 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.
E3a'p-e
For this e+ample we will be assuming that ,oop poins -in&ed o i'e se-ecion 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 5p-i ie's a i'e se-ecion from
the menu. <e now have a separate item @for
e+ample, to be muted, or to which we could
add F:D, but the original loop area is still
selected.
Lere we have muted the previous @and now
splitD time selection, and made another new
time selection, which we could also edit as
reGuired.
>otice that we can carry on working with different times selections, but our original loop area remains intact.
Jou can play this looped area over and over again while working on different time selections within it.
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?.7 5napping %i# 8o'bined 5nap$Grid 5eings
Jou have already learnt @Chapter &D how to define grid settings. These determine whether or not a grid is
displayed in your track area, and if so how that grid appears. The 5nap$Grid 5eings window @shown belowD
can also be used if you wish to ensure that various actions @including time or loop selectionD and2or items are
automatically snapped into position according to your settings. This, for e+ample, might be to the nearest beat.
The Cnap2.rid Cettings dialog bo+ is accessed
by choosing the (pions> 5nap$Grid
5eings command, or by the keyboard
shortcut A- ,, or by right clicking on the .rid
button on the '($P(' toolbar. The keyboard
shortcut A- 5 is used to toggle the Cnap
feature on and off. Jou can decide whether
you want snapping applied in all or any of a
number of ways, including1
2edia /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.
5e-ecion: Determines whether your time
and loop selections should be snapped.
8ursor: Determines whether your cursor
should be snapped.
8ursor o edge of 'edia ie's on any
rac&: .ood for navigating to item start,
end, splits, etc.
5nap o pro9ec sa'p-e rae: (nables
items to be snapped to items samples,
cursor, markers, loop points and envelope points to snap to samples.
>otice the 5nap 6isance settings. These enable your snapping to be more fle+ible. For e+ample, you might
set your grid spacing at, say Q" pi+els, specify snap distance of, say, Q pi+els and turn off the option to 5nap o
grid a any disance. This will ensure that snapping to grid will occur only when you click the mouse within Q
pi+els of one of the grid lines. Atherwise, 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-aive o Grid.
?.B 5napping %i# 5eparae 5nap and Grid 5eings
)n the above e+amples, '($P(' was set up to
use the same set of snap parameters for grid
display as was used for snapping. )n other
words, the snapping would take place to the
nearest grid position.
Net9s now see what we can do if we disable the
option Grid snap seings fo--o% grid
visibi-iy.
<e have also changed the 'ini'u' pi3e-s
setting for grid -ine spacing, in this case to
!" pi+els, whilst still specifying @at the point
where the cursor is shown on the screen shotD
a grid snap spacing of one si+teenth beats.
This produces a less cluttered display on the
screen. Provided you have ;oomed into your
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%%O
? - Ediing +rac&s and /e's
pro?ect sufficiently, gridlines will be shown for every Guarter beat but snapping will take place between as well
as on the gridlines, at every si+teenth beat.
>otice also the 2edia ie's snap o option. This can be set to 5nap bo# sar$end, (n-y snap a
sar$snap offse or 2ouse posiion dependen @that is, at whichever position the mouse is nearer at the
time, the start or the endD.
+ip: <hen snapping is enabled, this can be over ridden when selecting a loop along the timeline by holding
down the 8r- key while you make the selection.
?.C +ri' 4e#ind )#en Ediing
The toggle command (pions> +ri' conen be#ind
'edia ie's %#en ediing 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 $uto Crossfade icon on the main toolbar.
The easiest way to understand what this feature does is
to look at an e+ample of what happens when you move
one item onto another with 6trim behind7 disabled and
enabled. )n this e+ample, we are assuming that auto-crossfade has been turned off.
Net9s first recall how '($P(' behaves with trim behind disabled @the default settingD.
%. Chown left are two guitar tracks.
!. <e drag and drop the item from the
second track over the top of the first.
0. )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.
Net9s now see what happens if we repeat this e+ercise, but this time with the option +ri' conen be#ind
'edia ie's %#en ediing enabled.
Cteps one and two would appear to be the same as before. =ut look what now happens at step 01
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 6trim behind7 enabled.
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Up and Running: A REAPER User Guide v 4.72
?."! +#e <udge$5e /e's )indo%
The <udge$se ie's window can be opened from the media items right-click conte+t menu. Jou can use the
$ctions Nist editor to assign this action to a keyboard shortcut, or the Customi;e enus2Toolbars editor to assign
it to a toolbar. The use of both the
$ctions Nist editor and the Customi;e
enus2Toolbars editor is covered in
Chapter %0.
Ance opened, this window stays open
until you close it. Jou can select any
item @or a number of itemsD and use
this window to nudge or set a position.
(+actly how this behaves will at times
depend on your other settings @for
e+ample, snap settings, and whether or
not the item is loop enabledD. The main
options and parameters in this window
are described in the table below,
moving from left to right.
/e' E3p-anaion
Acion Choose <udge or 5e. <hich of these you choose will determine how '($P(' will
interpret the Uni information.
)f you choose >udge, the item will be moved according to the unit specified by the
amount specified. )n the e+ample shown above, the item position would be moved %"
ms to the left or right @depending on which >udge button is clicked.
)f you choose Cet, the item will be moved to the position specified.
<udge$5e
6efiniion
Determines e+actly what will be nudged or set. Jour choices are1
Posiion <hole item1 the whole item will be physically moved
,ef +ri' The item is trimmed from the left
,ef Edge The left edge is moved
Rig# Edge The right edge is moved
8onens The item itself remains static, its contents are moved within it
6up-icae Creates duplicate item@sD
<hether the movement is left or right will depend on which button is clicked.
)f 6up-icae is selected, you will be able to specify number of copies reGuired.
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 %".
Uni +ype Aptions include milliseconds, seconds, grid units, measures2beats, samples, frames,
pi+els, item lengths, item selections and notes. )f notes is selected, an additional drop
down list offering various fractions of a note @from %2!QO to wholeD is also displayed.
5nap o Uni <hether to enable or disable snapping.
<udge ,ef
<udge Rig#
These buttons are displayed only if >udge is selected. They determine whether to
nudge the item@sD to the left or to the right.
Ge 8ursor
App-y 2ove
These buttons are only displayed when Cet is selected. Ge 8ursor returns the
current cursor position and writes it in the 6o:U bo+. App-y 2ove moves the item
according to the various options and settings, including the position specified in the
6to17 bo+.
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? - Ediing +rac&s and /e's
?."" 2edia /e' Properies
$ll media items have a page of property settings which help determine the behavior of that item. Aften, editing
in '($P(' consists of selecting an e+isting item @or creating a new oneD and then changing its properties.
To display an item9s properties, select it then press F2, or right click and choose /e' Properies, or click on
its properties button @if visibleD. For audio @but not )D)D 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 is2are currently selected at any time.
Jou donHt 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+ are1
Posiion1 entering a precise figure here will move the start of this media item to that position.
,eng# of media item @Position and Nength can be shown in i'e> beas or *25FD.
Fade /n and Fade (u1 you can define both the length and the shape of these.
5nap offse1 The amount of offset from the default snap position if snapping is enabled.
/e' i'ebase1 Defaults to pro?ect timebase but can be changed @time, beats, etc.D.
/e' 'i3: (ffectively whether to replace or mi+ when an item is placed over another. Defaults to
pro?ect default.
,oop source1 whether item is a loop.
2ue saus1 whether or not the item
is muted.
/e' -oc& saus1 whether or not the
item is locked.
<hether or not to apply auofades at
item start and end.
<hether or not to p-ay a-- a&es.
Abviously, this only applies where two
or more takes e+ist.
Acive a&e file name.
$ctive a&e na'e. =y default '($P('
will use the media item file name, but
you can change this.
Pic# ad?ustment.
5ar in source: sets start time.
P-aybac& rae. For e+ample, type 32
to double the playback rate of all items
currently selected.
<hether to preserve ie' pic# when
the playback rate is changed.
$d?ust Vo-u'e and Pan, <or'a-iDe.
8#anne- 'ode1 this is discussed
shortly.
<hether to inver p#ase.
$dd or remove +a&e enve-opes.
<hich algorithm is to be used for pic#
s#if and i'e srec#.
5rec# 'ar&er default fade siDe and
whether to optimi;e for ona- conen.
The option to use only a secion of the
media item.
Aptions to reverse the item.
(+amine the media item source file9s properies.
Choose a ne% fi-e to replace the e+isting source file.
Rena'e the source file.
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$ccess the <udge$5e dialog bo+ for this item.
Apen the +a&e F7 8#ain window for this take2item.
$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 8ance- to close the window without applying changes. There is also an option
@right-click on title barD to App-y c#anges afer 2 seconds of inaciviy that you can enable if you wish.
Come of these options F such as ,oop 5ource and 8#anne- 2ode F are also available on the /e' 5eings
menu. )n addition, for many of them Beyboard Chortcuts either already e+ist or can be defined. Jou will be
shown how to create your own keyboard shortcuts in Chapter %0 when we e+amine the Acions ,is Edior.
+ip1 To change a property @e.g. playback rateD of several items at once, simply select all of the items then, with
the edia Properties window open, make whatever changes you reGuire.
?."2 2edia /e' /cons
For several of the settings in the )tem Properties dialog bo+ there are icons @buttonsD available that can be used
as a Guick way of accessing these commonly used features. The display of buttons is turned on and off in the
Appearance> 2edia page of the Preferences settings.
The icons are listed in two rows. Ticking options in the first row means that the icons will be displayed only
when the item has been enabled @by a keyboard shortcut, the menu, or the )tem Properties dialog bo+D. 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 2ue option in the first row but not the Un'ued option in the second, then the
mute button will be displayed only when the item is muted. The button indicates the track9s mute status and
can also be used to unmute it.
)f you choose to tick this item in both
rows then the mute button will always
be displayed @provided there is
sufficient roomD on all media items,
and can be used as a toggle.
(nabling Properies Eresa'p-ed
on-yF means that this button will only be displayed if an item is resampled.
)n the e+ample shown @leftD 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
@on the same preferences pageD for the option 6ra% -abe-s above ie' ra#er #an %i#in ie'. >ote that
even if you have this option enabled, it will only be applied if there is sufficient track height. Jou9ll find more
information about other settings on this Appearance, 2edia page in Chapter %R.
?."@ /e' <oes
The >otes button @or the /e' seings> /e' noes = command from the
right-click menuD 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. Lovering 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 <oes window, click on the ,oad button to load any .P>. or
.TP. image file. The option Use as ie' bac&ground can be selected to
display that image with the icon. Aptionally, you may also choose to
5rec# o fi ie'. $n e+ample of a media item displaying an image is
shown here. )cons can also be inserted into media items by dragging and dropping from (+plorer2Finder.
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? - Ediing +rac&s and /e's
?."4 8o-oring /ndividua- /e's
Jou can change the colors of individual
media items @or selections of media
itemsD by first selecting the items and
then displaying the conte+t menu and
choosing /e' and a&e co-ors, then
5e ie's o cuso' co-or or 5e
ie's o rando' co-ors or 5e ie's o one rando' co-or. Jou will need to ensure that at least one of
the options to tint media item waveform peaks and2or backgrounds with /e' co-ors is enabled on the
Appearance, 2edia page of your Preferences @see aboveD.
E3a'p-es
)n the e+ample below, our vocal track has been split into several individual items. Net us suppose that these
include several verses and choruses, and that for whatever reason we wish to easily identify the choruses.
<e can select the chorus items, then right-click over any item in the selection and choose /e' and a&e
co-ors> 5e ie's o cuso' co-or from the menu. @These commands are also available on the main Edi
menuD. <e can then select any color we wish from the 8o-ors dialog bo+ and click on (H. These items are now
shown in the selected color.
Ather similar commands include 5e ie's o rando' co-or and 5e ie's o one rando' co-or. To
remove a custom color, choose 5e ie's o defau- co-or.
?."A Ad9using /e' Vo-u'e
=esides using envelopes @which we9ll get to in Chapter %OD there are three main methods available to ad?ust the
volume of individual media items. They are1
,sing either the item volume handle or the item volume button.
,sing the volume fader in the )tem Properties bo+.
>ormali;ation.
?."A." +#e /e' Vo-u'e Hnob$/e' Vo-u'e *and-e
The Appearance> 2edia page of your Preferences settings includes the option to use either an /e'
vo-u'e &nob or +op edge of 'edia ie' @item volume handleD as a Guick and easy way to ad?ust the
volume of individual media items.
The /e' vo-u'e &nob is shown here @rightD. 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 reGuired items then ad?ust the knob
on any one within the selection.
The /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. Jou can click and drag with your mouse down to lower the volume level
@see first illustrationD. To pick up the handle from the top of the media and increase the volume from there, hold
down the 5#if key while dragging @see second illustrationD.
,se the 8onro- key while ad?usting either the item volume knob or handle for fine ad?ustments.
+ip: )f you want the item volume handle when set to "." d= to appear half way up your media items @rather
than at the top edgeD, choose the (pions> Preferences command, then on the 2edia page set 2edia ie'
ad9us'en range to -inf...J? d4.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
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Up and Running: A REAPER User Guide v 4.72
?."A.2 +#e Vo-u'e Fader
The )tem Properties dialog bo+ includes a
hori;ontal fader @to the left of the normali;e
buttonD which can be used to raise or lower an item9s 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.
?."A.@ <or'a-iDing /e's
The term normali;ing refers to ad?usting the volume of an item @or selection of itemsD to a standard level. This
can be especially useful if some of your tracks have perhaps been recorded at too low a level. To do this1
%. Celect any item @or group of itemsD to be normali;ed.
!. 'ight click over the selection.
0. Choose /e' processing then either <or'a-iDe ie's or <or'a-iDe ie'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.
?."? 8#anging /e' 8#anne- 2ode
'ight clicking over any edia )tem and choosing /e' seings
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 8#anne- 2ode options @also available in the )tem
Properties dialog bo+D. These include1
<or'a-: maintains or returns the stereo item to its
original channel state.
Reverse 5ereo1 swaps left and right channels.
2ono E6o%n'i3D: combines both left and right channels
into a single mono channel.
2ono E,efF: produces a single mono channel using only
the output from the original left channel only.
2ono ERig#F: produces a single mono channel using
only the output from the original right channel only.
For multichannel items @see Chapter 0D you have also the option of mi+ing down in mono or stereo to channels
other than % and !.
E3a'p-es
Come e+amples are illustrated below. >ote that these changes are non-destructive. Jou 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 Guickly and easily, you can simply duplicate it, then set one to ono @leftD and the other to ono @rightD
2ode: <or'a-
2ode: Reverse
5ereo
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%!!
? - Ediing +rac&s and /e's
2ode: 2ono
E6o%n'i3F
?."7 +a&e 5ource Properies
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 6take
media source7 and 6item media source7
become synonymous To change the media
item contents click on 8#oose <e% Fi-e, or to rename it use the Rena'e Fi-e option.
Jou can click on the Properies button to display information about the format of the original $udio file or
)D) recording which is the source of the item. )n the case of )D) items, you can also modify some properties,
such as restricting which channels are played. (+amples are shown below1
?."B REAPER Ediing and Audiioning E3a'p-e
ost new users of any digital audio software struggle with editing at first, especially if they are used to another
program which uses different techniGues. The best way to understand whatHs going on is to work thru some
e+amples. These e+amples assume that you have the option to Nink loop points to time selection enabled.
Apen the file A-- +#roug# +#e <ig#.RPP. ,se the Fi-e> 5ave Pro9ec As command to save it as A--
+#roug# +#e <ig# E6/+5.RPP.
The e+amples that follow are designed to help you to learn and understand the use of '($P('. They are not
intended to cover every possible feature F you can e+plore these for yourself F nor is it suggested that they
represent a particularly good arrangement of this song.
=y way of preparation, set pan the two guitar tracks 00K left and 00K right respectively.
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%. <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
6up-icae rac&s.
!. Change the name of this new track to 4ouDou&i
8opy. Press 8r- 5 to resave the Pro?ect File.
0. )n the Track Control Panel, click on the track number
for the first =ou;ouki Track then hold the 8r- key and
click on the track number for the second track. =oth
tracks are now selected.
&. Click on the 5o-o button for either track F both will be
soloed.
Q. ,se the mouse to lower the volume fader on either
track to around F#d= F both tracks will be lowered. $s
you get near to the F#d= mark, hold the Ctrl key down
for more precise movement.
O. Lolding down the 5#if key, move the Pan fader for
the first =ou;ouki Track to around QQK left, and, still
holding the 5#if key, move the Pan fader for the
second =ou;ouki track to around QQK right.
#. 'ight click over the edia item for the second
=ou;ouki Track. Choose /e' properies from the
menu. Change 5ar in 5ource to - !:!!.!!7. 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.
5. Press 8r- 5. Play the Cong.
R. <hile it plays, hold down 8r- and click on the 5o-o button for either
of the =ou;ouki tracks. This clears both the Colos.
%". 'ight click ?ust beneath the +rac& 8onro- Pane- area and choose
5#o% 'aser rac&.
%%. $d?ust panning and volume for the various tracks to get a reasonable
mi+. Jou might end up with something similar to that shown above.
Press 8r- 5.
%!. )n the e+ample shown, you might be happy with the overall balance
between the different tracks, yet the overall volume of the aster
might be ?ust a tad too loud in parts.
%0. Apen the F7 bin for the aster and insert into it the 15$Ui-iy
,i'ier. Cet the ma+imum volume of the limiter to F".Q. Close the F:
window, and make sure the Polume Fader for the aster is set to "d=.
Jou 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 @aboveD. ake sure that no track is selected, then press the
letter 5 to split all tracks at the cursor mark.
%Q. >ote that whereas before each track consisted of one item, each now
has two items. The items @to the rightD that you have ?ust created by
splitting should still be selected. )f they are not, right-click and drag over them to marGuee @selectD them.
%O. Press 6e-ee to remove these items. Press 8r- 5 to save.
%#. >ow weHre going to mute part of an item. <e first need to make a separate item containing ?ust the area
to be muted.
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? - Ediing +rac&s and /e's
%5. Celect the media item for the Vo3 track. Position the (dit Cursor round about the QO second mark.
%R. Press the K key @5#if RD to ma+imise the current track. Press 8r- A- Up or 8r- A- 6o%n until the
Vo3 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. <eHre going to get rid of it.
!". )f you want to hear it first, you can 5o-o that track and play it. DonHt forget to ,nsolo when finished.
!%. Piew the 4ig 8-oc&. <ith
the edit cursor near the
QO 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.
!0. Click and drag ?ust below the timeline to select the region that we wish to work with @see belowD.
!&. 'ight click over the media
item and choose the
command 5p-i ie's a
i'e se-ecion. This
creates a new item, and
this new item is still
selected. Press Esc to
clear the time selection.
!Q. )f the item9s mute button is visible, click it. Atherwise, right click on this new item and choose /e'
seings then 2ue.
!O. Press the K key again to return the whole of your song to the display. $d?ust track heights as you wish.
!#. Play the song. >otice that the Vo3 track is now muted during the passage that we have been working on.
!5. Press 8r- 5 to save. <eHll be returning to this e+ample shortly.
?."C Ediing 2u-ip-e 2edia /e's
Jou can use '($P('9s various item editing and manipulation techniGues @including smart editingD on selections
of multiple items. Tust make your item selection and then carry out the reGuired
action @delete or move, etcD.
%. Jou can do this with more than one ad?acent track at a time by using the
marGuee method @right-click and dragD when making a selection.
!. Jou can also do this for media items in non-ad?acent tracks. ake the time
selection, then select the first item, then hold 8r- while you click on each
of the other items. )n the first picture @rightD, tracks % and & have had an
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area selected in this way. )n the second screen shot @belowD, the same selected area has been cut from
both media items.
This is an e+ample of where you may wish to customi;e '($P('9s mouse
settings to change its default behavior. For e+ample, you might wish to ensure
that even when multiple items are selected, only the one item is edited. This can
be done on the 2ouse 2odifiers page of your Preferences window, a topic
covered in Chapter %0.
?.2! 5-ip Ediing
Jou can slip-edit unwanted passages from the start or end of a media item by
following this seGuence1
Lover your mouse over the lower part of an itemHs left or right edge so
that the mouse appears as a double headed hori;ontal arrow with a
sGuare bracket @as shown rightD. The direction faced by the bracket will
depend on whether you are at the start of the item or the end.
Click and drag to the right or left @as appropriateD, then release the mouse.
5-ip Ediing 2u-ip-e /e's
To slip edit several items in different tracks,
simply select all the media items reGuired @for
e+ample, hold the 8r- key while clicking in turn
on each item, or use the marGuee methodD, then slip edit any item in
the selection. The change will be applied to all items in the selection
@see leftD.
This is another e+ample of where you may wish to customi;e '($P('9s
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 2ouse 2odifiers page of your
Preferences window. This topic is covered in Chapter %0.
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.
Lowever, if you slip edit in such a way as to overlap the items, you will create a crossfade. =oth items will be
heard when the overlapping portion is played.
This is illustrated here, where the end of the first @further leftD of the two
ad?acent items has been slip-edited to the right, overlapping the other item.
This behavior can be modified in two ways. Disabling auto-crosssfade @on
the toolbarD will stop the crossfade, but both items will still be heard.
(nabling +ri' conen be#ind 'edia ie's %#en ediing @(pions
menuD will ensure that only the slip-edited item @the item on topD will be heard during the overlap.
$nother techniGue is to use slip-editing to move the boundary between two ad?acent items
@perhaps when an original item has been splitD. Celect both items and hover your mouse over the
boundary between the items to see the symbol shown here. Jou can then click and drag left or
right to move the boundary.
?.2" Ad9using 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. Jou can change both the shape and duration of this
curve, either using the mouse, or thru the /e' Properies dialog bo+.
%. Celect the rightmost item on one or more tracks. )n the e+ample shown @rightD two
tracks have been selected. )n this e+ample the items selected are vertically aligned1
this does not need to be the case.
!. Lover your mouse over the vertical white line that marks the start of the fade. The
mouse changes to display a curved shape.
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? - Ediing +rac&s and /e's
0. Click and hold down the mouse button. Drag left to increase the length of the fadeout
@see below leftD 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 F it would ?ust begin sooner.
&. ake sure that your media items are still selected.
Q. 'ight-click over the vertical line that marks the start
of the fadeout. $ menu of different fade curves will
be displayed @see rightD. Jou can select any of
these.
)f you prefer, instead of using your mouse, you can press F2 @with the items selectedD to
display the )tems Properties dialog bo+. Jou can make your changes there.
>otice that your
'($P(' (pions>
Preferences dialog
bo+ includes an area
on the Pro9ec
6efau-s screen
where you can specify
default fade and
crossfade length,
overlap, and shape characteristics. Cee Chapter %R for further information.
)n addition, the Preferences 2ouse
2odifiers page gives you additional
functionality by using modifier keys with
your mouse when working with fades and
crossfades.
For e+ample, holding 5#if while dragging
the mouse left or right will move a
crossfade left or right. Ather default
settings are shown here, but you can
change them. For information about
customi;ing your mouse modifiers, see Chapter %0.
?.22 8rossfades and #e 8rossfade Edior
Typically a crossfade might be used to transition gradually
from one media item on a track to another. )n the e+ample
shown @rightD, two media items overlap each other with a
crossfade. A- 7 toggles on and off auto crossfade mode.
<hen enabled, this ensures that dragging the start of one media item over the end of another will
automatically create a crossfade. Default crossfade parameters @including fade and crossfade s#apesD
are set in the 2edia /e' 6efau-s page of '($P('9s preferences.
Parious crossfade elements @such as shape, start and finishD 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. Lowever, 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%> 8rossfade Edior command, or by double-
clicking on a crossfade.
=elow you can see the same crossfade as before, with the crossfade editor open. The crossfade area has
been selected @by click anywhere on the crossfade curveD. 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 used1
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The fader unis @top rightD can be set to your preference, either time @secondsD 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
left2right on either curve to ad?ust the fade itself, or at the intersection to
move ?ust the point where the fades cross. The dialog bo+ controls can also
be used to edit the fades and crossfade @see points belowD.
ouse modifiers can be used to customi;e mouse behavior @see ne+t pageD.
Aptionally, you can select EIua- gain or EIua- po%er. EIua- gain
settings include linear fades @the top shapeD. EIua- po%er includes
logarithmic fades @second from topD. (Gual gain might be preferred when
both items contain similar material. (Gual power might be chosen when the
crossfade is between two different types of sound or different instruments.
$d?ustable parameters are curve, cener of crossfade, sar and end
locations of fade-out and fade-in, -eng#, position of conens @the
crossfade media itemsD, and vo-u'e of fades. ost of these are self-
e+planatory. The curve setting will ad?ust the shape of the left, right or @if linkedD both curves.
Depending on other settings, this may cause the fades9 intercept point to move left or right. >ote
also that when ad?usting the -eng# you can specify which position should be preserved F center,
start, or end. The conens rotary can be used to move either of the media items left or right. The
vo-u'e conro- can be used to ad?ust the volume of the crossfaded items.
Parameter values can also be typed directly into the edit bo+es.
Neft2right values of the different parameters can be -in&ed or 'irrored. (+cept for sar and end,
link and mirror are mutually e+clusive options. For e+ample, if s#ape is linked then changing the
shape of either fade will cause both to be changed in the same way. )f mirrored, selecting a shape
for one fade will cause an opposite shape @if one is availableD to be applied to the other fade. )f
sar and end are linked and mirrored, then ad?usting either of these controls will change the
crossfade start and end length eGually, keeping the center point constant. )f -eng# is linked,
ad?usting the length of either fade will change the length of both fades eGually. )f mirrored,
lengthening one fade will cause the other to be shortened by an eGual amount. )f conens are
linked, that control will move both media items left or right together. )f mirrored, it will move them in
opposite directions. )f vo-u'e is linked, then ad?usting either control will raise or lower the volume
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
%!5
? - Ediing +rac&s and /e's
of both items together. )f mirrored, then raising the volume on one side will lower it on the other.
Jou can choose whether your edits should apply to all grouped ie's.
Jou can se the position of audiion points before and after the crossfade. (nabling audition will
cause the crossfaded area @together with the pre-roll and post-rollD 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 'ue 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 sop playback, and enable2disable -oop audiion.
Previous and <e3 select the previous or ne+t crossfade.
The J button @topD can be used to save the current crossfade
editor settings as a Prese. Aptionally, you can include
crossfade length within the preset. Caved 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$8rossfade 2ouse 2odifiers and Acions
=oth media item fade
intersection and
fade2autocrossfade mouse
modifiers @rightD can be
defined separately for left
click, left drag and double
click actions. )n many cases
the left drag modifiers are
likely to be of most interest.
These modifiers can be
used when working with
fades or crossfades, e.g., to
enable or disable various
options, @such as whether
to ignore snap and2or
selection2grouping, and
whether to stretch itemsD or
to assign actions @such as
ad?usting the fade curveD.
There are also options which enable you to ad?ust the fade curve with the mouse.
Neft click and double click modifiers can be used to apply any of a number of additional fade intersection
or auto crossfade actions from '($P('9s $ctions list. These include actions to change fade2crossfade
shapes, to ad?ust curves hori;ontally only or both hori;ontally and vertically, and to ad?ust fade curves in
various ways. Cearch the actions editor to see the full list. For more general information about using both
mouse modifiers and the actions list see Chapter %0.
>ote also that the Appearance> Fades$8rossfades page of your Preferences includes various options
which determine how and when fade2crossfade edit handles are displayed @see Chapter %RD.
?.2@ 8rop Pro9ec o 5e-ecion
<hen recording, itHs 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.
Af course, you can fi+ this by slip-editing your tracks individually, then dragging and dropping them to the start
of your timeline. $ Guicker way would be to 8rop pro9ec o se-ecion. To crop a pro?ect to selection, do this1
%. Click and drag along the background area to mark the area that you want to keep F see picture below.
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!. 'ight click over the Timeline and choose 8rop pro9ec o se-ecion from the menu. )f you wish, press
Esc when this is done to remove the time selection.
+ip: )f immediately after cropping to selection @and before pressing EscD you again right click over the Timeline
and choose Qoo' se-ecion from the conte+t menu @or use the shortcut keys 8r- <u'pad P-us your pro?ect
will e+pand hori;ontally to fit the width of your Track Piew window.

?.24 Grouping /e's
Provided that .rouping is enabled F (pions> /e'
Grouping Enab-ed command, or A- 5#if G F 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 onD.
Celect the items and use G to add them to a group. )f you
prefer, you can use the /e' grouping button on the
'($P(' toolbar to toggle grouping on and off.
)n the e+ample shown below, three of the si+ items have been grouped. >otice that for grouped items a
Grouped icon will be displayed if this has been enabled in Preferences> Appearance> 2edia. (ven when this
preference is disabled, you will see a thin colored bar above and below all items that have been grouped @see
rightD.
Further items can
be added to a
group. Celect any
item in the group,
then press 8r- G
to select the entire group. Lold the 8r- key while you click on those
items that you wish to add to the group, then release Ctrl and press G.
>ote that U removes a selected item from a group. Jou can also use
the Group commands from the right click item menu to manage
groups.
E3a'p-e
Lere is a simple e+ample, using the file A-- +#roug# +#e <ig# E6/+5.RPP and save it as A-- +#roug# +#e
<ig# GR(UP /+E25.RPP
%. Celect the Vo3 track, and use the editing techniGues that you have already learnt to cut this track into
several media items, so that it resembles that shown above. There are a number of ways you can do this
F one is to position the cursor at the point that you want to split, then select the item, then press 5.
'epeat this as often as necessary. To remove unwanted items, select them and press 6e-ee.
!. Check your (pions menu to ensure that /e' Grouping is enabled. )f it isnHt, turn it on. >otice that by
default, the keyboard shortcut A- 5#if G can be used to toggle )tem .rouping on and off.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
%0"
? - Ediing +rac&s and /e's
0. Celect the second of the items in the Po+ track. Lold down the 8r- key while you select in turn the fourth
and last items for this track.
&. Press G to bind them into a group. Celect any item in the group and press 8r- G to select them all.
Q. )f item icons are visible, click on the 2ue button for any item in the group. Atherwise, right-click and
choose /e' 5eings> 2ue from the menu. 'epeat this to unmute them.
O. <ith all items in the group still selected, right-click on any of them and choose /e' and a&e co-ors
then 5e ie's o cuso' co-or. Celect a color and press Ener.
#. >ow select the first of the items drag and drop to the right a little. $ll items in the group will move
together. Press 8r- Q to undo this.
5. >ow click on any other media item not in the group. This deselects the group. Cave the file.
R. Click again on any item in the group and press 8r- G. $gain, all group items are selected.
%". Press U. These items are now ungrouped. Cave the file.
?.2A 5oring and Reca--ing /e' Groups
Different groups of items can be saved and recalled using the /e' Groups tab of '($P('9s 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%>
Pro9ec 2edia$F7 4ay command, and then select the /e' Groups tab. To create and save multiple groups,
simply use this method1
Apen the Pro?ect =ay and select the /e' Groups tab.
Celect the items for your first group then right click over one of them and choose Group then Group
ie's from the menu. $ group will automatically be created in the Pro?ect =ay. Jou can right click over
the group name and choose Rena'e group to give it your own name.
'epeat this step to create subseGuent 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 5e-ec
group from the menu. To remove a group, use the 6e-ee group> &eep ie's command on the same menu.
+ip: To ad?ust the volume of all items in a selected group, hold 8r- and A- while ad?usting the item volume
button or item volume handle of any one of the items in that group.
?.2? G-ue 5e-eced /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 ie'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
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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 procedure1
%. Celect 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 ie's from the conte+t menu.
E3a'p-e
)n the e+ample shown below, a track is made up of si+ separate media items @as in the e+ercise aboveD. =y
positioning the mouse initially over the first item, then right clicking and dragging to the last item before
releasing the mouse, we ensure that all items are selected.
<e then right click over any of these items @where the mouse is shown aboveD and choose G-ue se-eced
ie's from the menu. $s a result, the five items are ?oined into one, as shown below.
Ane application for gluing items is to ?oin several items together into a new loop source. Jou9ll learn more about
working with loops in Chapter 5. $nother use for glue is to render an item, for e+ample, incorporating item gain
and item F: into the new media item and setting the F: to bypass. <hen a selection of two or more items are
glued in this way, the F: and so on will be applied to the appropriate sections of the new item.
?.27 8reaing and 8opying /e's in Penci- 2ode
'($P(' includes an optional pencil mode
that can be used to create new media items
or make copies of e+isting ones. Low the
feature works is determined by your +rac&
-ef drag settings on the 2ouse 2odifiers
page of your Preferences window.
)n Chapter %0 you will learn how to change
these settings to suit your own custom
reGuirements if you need to. For e+ample,
you could assign the 5#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 view1
8r- F draws a copy of currently selected media item. Cnapping will be applied if enabled.
8r- 5#if - draws a copy of currently selected media item, will not snap.
8r- A- - draws a copy of currently selected media item pooling )D) source data with snapping @if enabledD.
5#if 8r- A- - draws a copy of currently selected media item pooling )D) source data, will not snap.
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%0!
? - Ediing +rac&s and /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 8r- while clicking and dragging further along that track, a copy of that media item is made.
?.2B /nser 5pace a +i'e 5e-ecion
The command
/nser> E'py
space a i'e
se-ecion can be
used to create a
6gap7 anywhere in a
song. Cimply make
your time selection
before selecting this
command. The space is applied to all tracks @as shown hereD.
Jou could then create additional material on any or all tracks in the space that you have opened out.
?.2C Ripp-e Ediing
The simplest way to describe ripple editing is this1 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 @leftD 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 (pions> Ripp-e ediing command,
or use the keyboard shortcut A- P, or use the 8yc-e Ripp-e Ediing
2ode button on the main toolbar. The same action @choosing the
command or using the shortcutD toggles the 'ipple (diting status
between three states1
(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 track@sD 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 $>J of the items on $>J 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 @so you now have three itemsD 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. $ll items to the right of the dragged item will stay together and markers and
automation will move correctly too.
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Lere is shown one e+ample
which uses ripple editing on
all tracks. 'ipple (diting, all
tracks is enabled. )n the first
illustration, the period of
silence before the recorded
program starts is selected.
The command 8u se-eced
area of ie's is then
applied. The selected area is
cut from all tracks, and the
remaining material is moved
to the pro?ect start.
+ip: Chortly in this chapter
you will be shown how to use 'ouse 'odifiers to determine how '($P(' behaves when an item or selection
of items is dragged. This includes options to select and apply any of the three ripple editing states when the
item@sD is2are being dragged,
?.@! +ri' o 5e-eced 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.
Tust follow this seGuence1
%. Celect the media item @or itemsD.
!. Click and drag in the track background area to select the area that you want to keep.
0. 'ight click over a selected media item and choose +ri' ie's o se-eced area.
)f Ripp-e Ediing is turned on, the area that is trimmed will also be removed from the timeline, otherwise
some empty space will be left. )f your 5nap$Grid 5eings are set to include 2edia /e's, then provided
that snapping is enabled, snapping will be applied when you select the area to be trimmed.
?.@" Free /e' Posiioning
Choosing the option for free ie' posiioning enables you to move your media items around freely within a
track or tracks. This can be helpful, for e+ample if you want two or more media items to play simultaneously or
to overlap on the same track. To turn this feature on1
%. Celect the track @or tracksD for which you wish to allow free item positioning.
!. 'ight click over the Track Control Panel and choose Enab-e rac& free ie' posiioning from the
conte+t menu.
The following series of illustrations demonstrates an e+ample of how this feature might be used.
)n the first screen shot we have a Nead Pocal
and a Larmony Pocal on different tracks. <e
might find it convenient to place these together
on the same track.
)n the second screen shot we have enabled
Free )tem Positioning for the Po+ ain track.
>otice that there is a small handle @shown by
the mouse cursorD which can be used to ad?ust
the height of this media item.
)n the third screen shot the media item for the
Po+ Lmy track has been dragged and dropped
into the Po+ ain track.
<hen this track is played, both of these media
items will play together. )n fact, in this e+ample,
Track 0 can now be deleted.
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? - Ediing +rac&s and /e's
(ach of the @in this case twoD items is
independent of the other. (ither or both can
be muted and unmuted, have F: added to
them, have changes made to pitch and2or
playback rate, and so on. Jou can use the
2edia /e' Properies dialog bo+ @F2D
and2or the right-click conte+t menu for this
purpose.
?.@2 2ouse 2odifiers
Jou have already encountered many e+amples of how '($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 %0, you9ll 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 Ediing 4e#avior, 2ouse
2odifier section of your '($P(' Preferences.
From the 8one3 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.
Jou can then double-click on any entry in the odifier column to assign an action to that modifier.
Chown here @belowD 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. Lolding 8r- as you do so will copy it F and so on.
There are many more for you to choose from. For e+ample, you could define 5#if )in as a modifier to restrict
item movement to being vertical only, when moved or when copied. Jou could use 8r- )in for ad?usting an
item9s 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 8one3 drop down list includes the following entries that can be relevant when you are working with
media items.
2edia ie' E-ef c-ic&> -ef drag and
doub-e-c-ic&F
2edia ie' boo' #a-f E-ef c-ic&>
-ef drag and doub-e-c-ic&F
2edia ie' edge E-ef drag and
doub-e-c-ic&D
2edia ie' fade$crossfade E-ef
c-ic&> -ef drag and doub-e-c-ic&F
any conte+ts have an option
associated with them1 where present,
this is displayed below the table, ?ust
above the (H button. )n the e+ample
here, you have the option whether or
not to treat the label area above the
item as empty track space.
>otice too the /'por$e3por
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.
There9s 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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2edia /e' ,ef 8-ic& 2odifiers
Chown 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 5e-ec ie' and 'ove edi cursor.
An the other hand, A- 8-ic& will select the
item without moving the edit cursor.
)f you wish, you can swap these assignments
over, so that a simple click will select the
media item without moving the edit cursor.
To do this, ?ust double-click in the list on the
item that you wish to change, then select
your preference from the list @see rightD. Jou
will find more information about customi;ing
mouse modifiers in Chapter %0.
2edia /e' Edge ,ef 6rag
Chown here @rightD are the default mouse
modifier settings that are used when
clicking and dragging on the edge of any
media item@sD.
Chapter %0 includes a step by step e+ample
showing how you can change these.
(#er (pions
>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
ie' o se-ecion.
<oe: <hen the conte+t 2edia ie'
boo' #a-f is selected, an option is
displayed to 6isab-e argeing of boo'
par of 'edia %#en a&e -ane #eig# is
-ess #an 33 pi3e-s. =y default this is set
to &&. Jou 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. )t9s 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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?.@@ 6yna'ic 5p-iing - Re'ove 5i-en Passages
'($P('9s Dynamic Cplitting is a powerful feature which can be used for all sorts of purposes. any of these are
designed to help you with tempo based composition, but it has other more widespread applications. Ane such
use is to clean up a track and remove those passages that should be silent. This can be handy, for e+ample,
with a vocal track, to auto&matically clean up the passages between verses which might contain unwanted
background noises such as breathing or shuffling sounds.
Cuppose that you have recorded such a vocal
track. <ith dynamic splitting you can effectively
tell '($P(' to go thru the track and take out all
of the passages where the vocalist isn9t singing.
These are the passages where you want the track
to be silent and which otherwise might contain
various breathing or other unwanted sounds.
To do this, you first select the media item then
right click over it and choose the /e'
processing, 6yna'ic sp-i ie's= command.
Jou then need to select the reGuired parameters
before splitting.
Jou 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 5, 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.
Ctart with settings similar to those shown here
and ad?ust then as necessary.
5u''ary of 6yna'ic 5p-iing
Para'eers
<hen used in this way, dynamic splitting
basically employs a noise gate to tell '($P('
how often and where to split your media items and which areas are to be removed.
6yna'ic 5p-iing Para'eer 5eing o Re'ove 5i-en Passages
A ransiens Deselect this option when using dynamic splitting for this purpose.
)#en gae opens
)#en gae c-oses
Jou would be unlikely to select one of these options without the other.
=oth of these options need to be turned on, so that '($P(' can work
out the beginning and end of each passage that is to be removed.
Reduce sp-i )n most cases, when using dynamic splitting for this purpose this item
should be deselected.
2in s-ice -eng# This sets the shortest length for any slice. Jou will probably need to
e+periment to get it right. ,sually, this should be set to a low value.
Lappily, '($P('9s dynamic splitting interface gives you immediate
visual feedback. Jou 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
8onsrain s-ice -eng# )n most cases for this particular application this setting should not
matter. )f in doubt, try both and be guided by the visual feedback.
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6yna'ic 5p-iing Para'eer 5eing o Re'ove 5i-en Passages
Gae #res#o-d 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
Guieter passages of the recorded material. Ctart around -Q"d= and
make any necessary ad?ustments from there.
2in si-ence -eng# This is another parameter that will reGuire fine tuning. Cet too high it
will fail to catch all the periods of silence,
*yseresis 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 -O!.Q d= and reopen at -Q" d=. 'aising the hysteresis
figure closer to or even above "d= will have create more splits.
Acion o perfor' For this application you would choose 5p-i se-eced ie's or 5p-i
se-eced and grouped ie's. The other options involve the use of
stretch markers, which will be covered in ChapterR.
Re'ove si-ence This option should be enabled.
Fade Pad (nabling fade pad can help ensure a smoother transition.
(#er seings Neave them as shown here.
?.@4 5)5 E3ensions
$s you get to know '($P(' better you will find that there are a number of editing and related actions that you
will want to use freGuently. 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. Jou will find
that many of these actions F and more - are available as a plug-in to '($P(' by downloading and installing the
5)5 E3ensions Pack. To do this, you simply follow this seGuence1
%. .o to #p:$$%%%.sanding%aersudios.co'
!. Follow the instructions to download the correct version for your operating system.
0. $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. Co comprehensive are they that they come with their own PDF manual.
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7 - Arranging> 8o'ping and Ediing +a&es
7 Arranging> 8o'ping and Ediing +a&es
(arlier, in Cection 0, 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 5#o%ing +a&es in ,anes, Using 8o-or 8oded +a&es
and )or&ing )i# 2u-ip-e +a&es. The editing and arrangement techniGues covered in Chapter O 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. Jou have two main methods at your disposal. Jou can either1
(+plode the takes to new tracks. Jou can then work on and edit each track separately and @if you wishD
?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. <e9ll get to
this method later in this section.
>ote that unless specifically stated otherwise, the instructions in this section assume that you have the free item
positioning option disabled for the tracks that you are working on. This is the default setting. @For more
information about free item positioning, see chapter OD.
7." E3p-oding +a&es o 2u-ip-e +rac&s
<e9ll start by looking at the first of these two methods. NetHs suppose that we have recorded three takes of a
vocal track. <e can right click over the item and use the +a&e> E3p-ode a-- a&es o ne% rac&s command.
This command creates @in this caseD three e+tra as yet unnamed tracks F 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 techniGues that have been covered in Chapter O.
Finally, we select the various items from tracks 0 and & and use the <u' ,oc& B key to move them up to track
!. Track % is now muted and could of course be hidden. Tracks 0 and & could be deleted.
Jou could now select all of the items in track ! and use the G-ue /e's command to bind them together as
one media item. >ote that the original muted track with the three takes on it is still available. This makes it easy
at some later time for us to change our mind about what to include in the vocal track if we wish.
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7.2 8rossfades %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 Auo
8rossfade button on the main toolbar @or the
keyboard shortcut, A- 7D.
The curves of crossfades can be edited. Jou can e+tend the crossfade in either direction
by dragging the vertical fade bars. )f you hold 5#if while doing this, you can move the
crossfade itself left or right to a new position. 'ight-clicking over the crossfade reveals a
menu of different crossfade shape options @see leftD.
,sing these techniGues can ensure that an otherwise abrupt edit is smoothly disguised
by a gradual transition at the best edit point.
Parious options are available to you for customi;ing mouse behavior when crossfade editing. These can be
selected from the Ediing 4e#avior> 2ouse 2odifiers page of your Preferences F see also Chapter %0. $n
e+ample of this shown here.
For more powerful and sophisticated crossfade editing, you might wish to use the Crossfade (ditor @see
Chapter OD
7.@ E3p-oding +a&es in P-ace
$nother option is to use the +a&e> E3p-ode a-- a&es Ein p-aceF command. This has the effect of merging all
takes on the track into a single lane. Lere9s an e+ample of when you might wish to do this. The track shown
here includes three lead vocal takes. Jou have made your selection of the best parts of each take. These have
had their individual item properties @such as volumeD 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.
7.4 P-ay A-- +a&es
Lere9s a really
interesting trick
you can do
with takes.
Chown 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 take9s F: chains.
$fter selecting both these media items, right-click over either one of them and choose /e' seings 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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7.A Ediing and 8o'ping 2u-ip-e +a&es
Jou don9t need to e+plode takes to multiple tracks in order to manage them. )n this section we9ll 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.
5-ice and 6ice
<hen you choose the (pion to 5#o% a-- a&es in -anes E%#en roo'F there is a neat techniGue 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
5p-i the track in as many places @and at the e+act pointsD 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 O.
$ clever trick is to make all of the items that together make up a complete set of preferred takes a different
color from the others. To do this, first choose your takes and select all of the media items @use marGuee to do
thisD, then choose from the /e' menu /e' and a&e co-ors, then 5e acive a&e o cuso' co-or or
5e acive 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 6isp-ay e'py a&e -anes @(pions> +a&e -ane be#avior menuD is enabled to ensure that your
takes are displayed more clearly. $n empty part of a take @such as e+ist in Take ! hereD cannot be selected
unless you enable A--o% se-ecing e'py a&e -anes @(pions> +a&e -ane be#avior menuD.
)f you prefer not
to see the empty
take lanes, you
can hide them by
disabling 6isp-ay
e'py a&e
-anes @(pions>
+a&e -ane be#avior menuD, as shown above.
8o'p 5es
Jou can save
multiple comp sets
for individual tracks
@as shown aboveD
and even for
groups of tracks
@as shown rightD.
This is a pro?ect
with two vocal
tracks, each of
which has been sliced and diced and the preferred takes colored rusty red.
<ith all media items in this set selected @use marGuee for thisD, you can right-click over the selection and
choose 8o'ps then 5ave as ne% co'p from the conte+t menu. Jou will be prompted for a name1 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. Ane
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. Lere is a summary of the commands
on the 8o'ps sub-menu.
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8o''and E3p-anaion
5ave as ne% co'p Caves your current selection of takes on all currently selected tracks as a new
comp set. Jou will be prompted for a name.
Rena'e acive co'p Nets you change the name of current active comp set.
Re'ove acive co'p 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.
8rop -is o acive co'p 'emoves other comp sets from comps menu list.
2ove acive co'p o op
-ane
oves all items in take selection to the top lane of its track.
8o'p na'es
Jour comps will be listed at the end of the
Comps menu @see e+ample rightD.
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 2ove
acive co'p o
op -ane.
Don9t forget also that by pressing 8r- , 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 0 to slide items left or right if their timing is slightly out of sync with other takes. The
e+act amount by which these keys will slide your selected media item@sD 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 6mi+ and match7 your various tracks together. Lowever, 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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The table below summari;es other +a&e menu management commands that are available to you1
8o''and E5#orcuF E3p-anaion
<e3 a&e E+F akes ne+t take the active take for all selected media items.
Previous a&e E5#if +F akes previous take the active take for all selected media items.
6e-ee acive a&e E7F Deletes currently selected take on all currently selected media items.
8rop o acive a&e EA- 5#if +F 'emoves all non-active takes from currently selected media items.
6up-icae acive a&e $dds a copy of the active take to the item as a new take.
,oc& o acive a&e 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.
5#o% F7 c#ain for acive a&e Apens the F: browser to allow you to add F: to the active take for
the selected media item.
Re'ove F7 for acive a&e 'emoves F: previously added to a take9s FC chain.
+a&e vo-u'e enve-ope
+a&e pan enve-ope
+a&e 'ue enve-ope
+a&e pic# enve-ope
$dds an automation envelope
to the selected take. Jou9ll
learn more about automation
envelopes in Chapter %O.
E3p-ode a-- a&es o ne% rac&s Copies each take to a new track.
E3p-ode a-- a&es in p-ace Places selected takes on the same track on top of each other, so that
all will play at once.
E3p-ode a-- a&es Ein orderF Places selected takes on the same track in seGuence, one after the
other.
This command turns this I. into this1
/'p-ode ie's across rac&s ino
a&es:
Copies all selected items to a single track as a series of takes.
This command turns this ...
I into this1
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8o''and E5#orcuF E3p-anaion
/'p-ode ie's on sa'e rac&
ino a&es:
oves all selected items to the same start time as a series of takes
on the same track.
This command turns this I. into this1
Pase o a&es in ie's Pastes previously selected and cut or copied takes into selected
tracks as a new item.
7.? 2ore +a&e 8o''ands and Acions
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 F 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.
8o''and E5#orcuF E3p-anaion
App-y rac& F7 o ie's as ne%
a&e
App-y rac& F7 o ie's as ne%
a&e E'ono oupuF
App-y rac& F7 o ie's as ne%
a&e E2/6/ oupuF
Ane 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 compressor1
$fter applying track F:, we have a new take with the F: applied to
it. The original F: chain can now be set to bypass1
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 ie'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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8o''and E5#orcuF E3p-anaion
Reverse ie's as ne% a&e Jou can have some fun with this one. )t does what it says F it adds a
new take to the media item with the material reversed.
Lere9s an e+ample. Ctarting with this I
I we end up with this1
$s well as these commands, '($P('9s $ction Nist @see Chapter %0D includes a number of actions you can use to
deal with empty take lanes. These actions @which can be assigned to shortcut keys or toolbarsD are1
/e': Re'ove a-- e'py a&e -anes
/e': Re'ove #e e'py a&e -ane afer #e acive a&e, and
/e': Re'ove #e e'py a&e -ane before #e acive a&e
Don9t forget how many options you now have I slice and dice, play all takes, volume, pan and mute envelopes,
pitch and2or playback rate shifting, take F: I and so on*
Foonoe: 8onfused abou co-orsX
'($P('9s Preferences>
Appearance, 2edia 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.
7.7 2anaging 8o'ps %i# #e Pro9ec 4ay
Takes and comps can also be managed from within '($P('9s Pro?ect =ay.
The Pro?ect =ay is a one-stop center which allows for the convenient management of a pro?ect9s 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%> Pro9ec F7$2edia 4ay command. Click on the tab labeled
+a&e 8o'ps to display the takes and comps management section.
Clicking on the (pions button @bottom rightD
displays a menu. This menu is e+plained in detail in
Chapter %%. For now, notice the option to 2irror
se-ecion in bay and pro9ec. <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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<ithin the pro?ect bay window @see belowD you can right click over any listed comp to display its conte+t menu.
Choices include commands to Acivae co'p, Rena'e co'p and 6e-ee co'p E&eep a&esF.
Jou can also create a new comp from your current take selection by clicking on the Acions button @bottom
rightD and choosing 8reae 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 below1
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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B - ,oops> 2ar&ers and Regions
B ,oops> 2ar&ers and Regions
B." 8reaing ,oops
$ny audio, )D) or click source )tem can be
looped. )ndeed, by default '($P(' media
items are loop enabled. Jou can disable this
for individual items in the edia )tem
Properties dialog bo+, or globally @for )D)
and imported itemsD on the Pro9ec> 2edia
/e' 6efau-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 5 bars, it will loop every 5 bars, etc. >ote that in the following e+amples, if you are
using beats for your timebase, the item must be an e+act number of beats in length, or it will not loop in sync.
)f necessary, ad?ust the playback rate @edia PropertiesD while preserving pitch, then glue the item to do this.
+o ,oop an enire /e'1
%. Lover the mouse over the edge of an
)tem until the Cursor changes to a
double-headed arrow @see rightD.
!. Drag the Cursor to e+tend the )tem.
(ach loop point will be indicated by a
notch in the item edges.
0. The length, start time and end time of the looped item will be displayed as you drag the edge of the loop.
8ropping 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. Lover 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 ie's.
0. >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 reGuired.
8#anging P-aybac& Rae:
There may be times when you will wish to
change an item9s playback rate, for
e+ample to keep it in sync. Taking the same
e+ample as above, you would first display
the /e' Properies bo+, and most
probably make sure that Preserve pic#
%#en c#anging rae was selected. Jou
could then change the P-aybac& rae @for
e+ample, to !."D. This would have the
effect shown here. The original item
@loopedD as shown above has had its
playback rate modified @rightD.
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8reaing a ,oop fro' a +i'e 5e-ecion
$nother way of creating a loop from only part of an item is to select the
reGuired item, highlight the reGuired part of it as a time selection, right
click, choose 8opy -oop of se-eced area of ie's, remove the original,
then paste in the loop in its place. This is shown here1
%. Celect first the source item, then select the area to be looped @see
aboveD. (ither press 8r- A- , or right click and
choose 8opy -oop of se-eced area of ie'.
!. Celect the track and position to which you want the
item copied.
0. Press 8r- V to paste in the area to be looped.
&. Drag the cursor from the edge of the item as before
to create the loop.
B.2 8reaing and <avigaing %i# 2ar&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.
Acion 5#orcu Effec
/nser> 2ar&er command 2 )nserts numbered arker at present position.
/nser> 2ar&er E pro'p for
na'eF command
5#if 2 )nserts numbered arker at present position and
prompts for a marker name.
Rig# c-ic& 'ouse over 'ar&er Displays menu to 'emove arker or (dit arker.
Heyboard and 2ouse 5#orcus
Default Beyboard and ouse Chortcuts for creating and navigating with markers are1
+o do #is ... 2ouse$Heysro&e
.o to marker % thru %". " thru ! on main keyboard, not >um Pad.
ove marker % thru %" to cursor position, or create
new marker if no marker of that number e+ists.
8r- " thru 8r- C and 8r- !
.o to ne+t marker2 pro?ect end or previous marker2
pro?ect start.
W or V
To ?ump to any marker. 8r- 1 opens Tump To dialog. Type m and marker
number F e.g. m! to ?ump to marker !.
Tump to marker using the Transport =ar. Rig# c-ic& on +ranspor 4ar then 1u'p o
'ar&er
Apen (dit marker dialog @e.g. to add or change marker
name or change marker colorD.
5#if doub-e-c-ic& on 'ar&er nu'ber. Type a
new name, or click on 5e co-or.
ake loop selection in '($P('9s main arrange view or
in the )D) (ditor piano roll view.
6oub-e-c-ic& on ru-er be%een %o 'ar&ers
Celect area between the two markers. 6oub-e c-ic& on i'e-ine be%een 'ar&ers
ove a marker. 8-ic& and drag 'ar&er a-ong i'e-ine
'emove a marker. A- 8-ic& on 'ar&er
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B - ,oops> 2ar&ers and Regions
E3a'p-e
This e+ample illustrates the use of markers. =efore you begin, on the (pions menu, enable the option ,oop
poins -in&ed o i'e se-ecion.
%. Apen the sample file A-- +#roug# +#e <ig#.RPP and
immediately save it as A-- +#roug# +#e <ig#
2ARHER5.RPP
!. Play the song. Tust before the place where the vocal starts.
Press 5#if 2. <hen prompted, type as the name Verse "
5ar and press Ener
0. $t the end of the first verse, press 5#if 2 again, name
this marker Verse " End and press Ener.
&. Create similar markers for the start and finish of Perse ! and Perse 0. These will be at or around %1"",
%105, %1&O and !10Q. Cave the file.
Q. Press " on your keyboard @not the numeric keypadD. >otice the edit cursor ?umps to the start of Perse %.
O. Press 2. >otice it ?umps to the end of Perse !.
#. Double click on the timeline ruler @not the markers rowD between markers ! and 0. >otice that this area is
now looped and will play repeatedly.
5. 'ight click over the timeline and choose Qoo' se-ecion. Jou could now do any close editing work
reGuired for this selection.
R. Press Esc to clear the selection, then 8r- Pg6n to restore the whole pro?ect to view. Cave the file.
B.@ +i'e 5e-ecion 5ar$End 2ar&ers
'($P(' treats the start and end of any current time selection as
floating markers. The shortcut keys for Go o ne3 '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.
Jou can also right-click over the Go o sar 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
previous2ne+t marker or start2end of a time selection when one is current.
B.4 5napping o 2ar&ers
Aptionally, 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 and2or end of the time selection
@if any such markers are presentD.
Consider the portion of the 5nap$Grid
5eings shown on the right. >otice that
snapping has been enabled, with a snap distance of %" pi+els defined.
<ith snapping disabled, it can be Guite 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 doesn9t
Guite match the marker.
Lowever, 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 @leftD and enabled @rightD.
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E3a'p-e
)n the first screen shot @belowD, a pro?ect contains two markers, one at the start and one at the end of the
pro?ect.
Cuppose that you wish to reposition arker ! at the start of the second verse. Jou can simply position the edit
cursor there and then press 8r- 2.
>ow let us suppose that you want to create arker & at the end of the song, reserving arker 0 for a position
as yet unspecified. Jou can position the edit cursor at the end of the song and press 8r- 4.
B.A Re'oving 2ar&ers
There are two main methods of removing unwanted markers.
+o re'ove a sing-e 'ar&er
Position the mouse over the marker 6flag7 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 2ar&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 6flags7 within
the time selection, and choose
Re'ove a-- 'ar&ers fro'
i'e se-ecion from the
conte+t menu.
B.? 2ar&er Acions
any actions are available @in the $ctions Nist (ditorD to help you manage markers. These include 2ar&ers:
6e-ee 'ar&er near cursor and 2ar&ers: Renu'ber a-- 'ar&ers in i'e-ine order.
Chapter %0 e+plains in detail more about actions and about how you can assign them to toolbars or to your own
shortcut keys.
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B - ,oops> 2ar&ers and Regions
B.7 8reaing and Using Regions
'egions essentially take the idea of markers one step further. Jou can create regions for your pro?ects, making it
easy to identify, select and work with different passages of a song.
+o do #is ... 2ouse$Heysro&es$8o''and
Create a new region from the current selection. 5#if R or right click, 8reae Region fro' 5e-ecion
To change name or other properties of the region. 5#if 6oub-e c-ic& on region icon.
To specify a color for a region. 5#if 6oub-e c-ic& on region icon then 5e co-or.
ake the area of the region the current selection. 6oub-e c-ic& on region icon, or right click on region
icon, 5e-ec Region
'emove a region. A- 8-ic& on region icon
+o creae a Region fro' %o e3ising 2ar&ers =
%. ake sure the (pion for ,oop poins -in&ed o i'e se-ecion is enabled.
!. Double click on the timeline @not the markers rowD between the markers to make the selection.
0. 'ight click and choose 8reae region fro' se-ecion.
+o creae a Region fro' scrac# =
%. Click and drag across the background area of the Track Piew to make the selection.
!. 'ight click and choose 8reae region fro' se-ecion.
E3a'p-e of %or&ing %i# Regions
%. ake sure that the (pion for ,oop poins -in&ed o i'e se-ecion is enabled.
!. )n the file A-- +#roug# +#e
<ig# 2ARHER5.RPP,
double click on the timeline
between the first two markers.
This causes this area to be
selected.
0. 'ight click over the timeline,
between the markers, and
choose 8reae Region fro'
5e-ecion.
&. Lold 5#if while you double-
click on the new regionHs icon to display the Edi Region dialog. Type
Verse " and press Ener.
Q. Double click on the timeline between markers three and four to select
this area. Press 5#if R to define a region. 'ight click over the icon for
this region, choose Edi Region, type Verse 2 and press Ener.
O. 'epeat this process using the area between markers five and si+ to
create a Perse 0 region. Beep this region selected.
#. Press 8r- with the J on the >umeric Pad to ;oom in on that region.
5. Press 8r- Pg6n to restore the whole pro?ect to the screen.
R. Press Esc to remove the current selection.
%". Cave this file.
$ number of handy actions are available @in the $ctions Nist editorD to help you create and manage regions.
These include 2ar&ers: /nser region fro' i'e se-ecion and 2ar&ers: /nser region fro' se-eced
ie's as well as Regions: Go o ne3 region afer ne3 region finis#es p-aying.
Chapter %0 e+plains in detail more about actions and about how you can assign them to toolbars or to your own
shortcut keys.
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B.B +#e Region 2anager
The Vie%> Region 2anager
command toggles the display of
the region manager, used to
manage regions and markers.
This table shows how the region
manager manipulates markers and
regions using its buttons, its
controls, and its conte+t menu
@displayed by right-clicking on its
title bar or in its background area.D
+o do #is = = you do #is
Renu'ber 'ar&ers and regions in
i'e-ine order
Choose Renu'ber in i'e-ine order from conte+t menu.
Go o 'ar&er or region and scro--
ino vie%.
(nable 5ee& p-aybac& %#en se-ecing a 'ar&er or region
on conte+t menu.
Auo p-ay any region on se-ecion in
region 'anager.
(nable P-ay region #ru #en repea or sop %#en
se-ecing a region from conte+t menu.
Edi 'ar&er$region na'e Double-click on marker2region name in table then edit.
Edi o#er 'ar&er$region daa Double-click on number, start time, end time or length to edit.
5or ro%s in any order Click on any column header, e.g. >ame or Ctart time. )n the
above e+ample, Ctart has been chosen as the sort column.
6e-ee a 'ar&er or region Celect the marker or region in table and press 6e-ee.
'emoves the region definition but not media content.
5#o%$no s#o% regions or 'ar&ers
in Region 2anager
Tick2untick 'egions and arkers options @top rightD.
8#ange co-u'n order Click and drag column header left or right.
*ide$5#o% co-u'ns 'ight click on any header, deselect2select from list.
(pen Edi region$'ar&er dia-og bo3 Double-click on region or marker name.
8#ange region or 'ar&er co-or Click on small color icon to left of marker2region number.
Qoo' o region or 'ar&er Double-click on region or marker number.
Render regions as a separae fi-e
eac# Ea-- rac&sF
From conte+t menu choose 2ar& a-- regions o be rendered
or click in 'ender column to select reGuired regions and choose
2ar& se-eced regions o be rendered from the conte+t
menu, then use the Render 2ari3... button to open the
Render 2ari3 window. Cee Chapter %5.
Render on-y se-eced rac&s %i#in
regions> as separae fi-es
$fter selecting region to be rendered, left click in 'ender atri+
column to select tracks. For details see Chapter %5.
E3por 'ar&er$region -is as .3
or .csv fi-e
Tick 'egions and2or arkers option bo+@esD, choose E3por
regions$'ar&ers... from conte+t menu, then type a file
name, choose file type and click on 5ave.
/'por regions$'ar&ers fro' .csv
fi-e Erep-ace e3isingF
,se /'por regions$'ar&ers Erep-ace e3isingF command
from conte+t menu, select file then click on (pen.
/'por regions$'ar&ers fro' .csv
fi-e E'erge %i# e3isingF
,se /'por regions$'ar&ers E'erge %i# e3isingF
command from conte+t menu, select file then click on (pen.
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B - ,oops> 2ar&ers and Regions
B.C Pro9ec 4ui-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 and2or loops. Two especially powerful features of regions are1
Drag and drop a region along the timeline to move a region9s entire contents.
Lold 8r- while dragging and dropping to copy the entire contents of a region.
To illustrate this, take a look at the image above. <e have started building a pro?ect, with an introduction, then
a verse @which has been made into a regionD, a chorus @also a regionD and a second verse.
=y holding the 8r- key while clicking and dragging the icon for the Chorus region to the right, to the end of
verse !, we are able to copy the entire chorus to that point @see belowD.
>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.
<oe: Jou 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 2ar&ers: /nser separae regions for eac# se-eced
ie'. This action can be run from inside the $ctions window, and2or be assigned to a keyboard shortcut, and2or
added to a toolbar, and2or added to one of '($P('9s menu F see Chapter %0 for more information.
B."! 8#anging #e Pro9ec +i'ebase
Jou can select Time, =eats @position, length, rateD or =eats @position onlyD as the timebase for your envelopes,
events and markers. To do this1
%. Press A- Ener to display the Pro9ec 5eings window. Click on the Pro9ec 5eings tab.
!. ake a choice from the +i'ebase for ie's$enve-opes$'ar&ers drop down list, then click on (H.
Jou can also change the beat by clicking in the 4P2 bo+ @on the Transport =arD and entering a number.
B."" 2ar&ers and 2edia 8ues
)f you need to share your media files with other applications that use media cues @for e+ample, Cound ForgeD
you can convert your markers to media cues when rendering. File rendering is covered in detail in Chapter %5.
'($P(' also has an option on the Piew menu @enabled by defaultD to show media cues where they e+ist on
imported media items. oreover, you can use the /e' Processing command to create markers within
'($P(' for these media cues.
E3a'p-e
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Up and Running: A REAPER User Guide v 4.72
%. )n the screen shot shown above, our pro?ect includes a number of markers1
!. <e can now select the appropriate
tracks and render the file @using
the Fi-e> RenderD command,
selecting the option 5e's
Ese-eced rac&sF from the
'ender drop down list, 2ono
channels, and ticking )rie
'ar&ers as cues.
0. )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.
&. )f we now select any of these media items then right click and choose /e' processing then /'por
'edia cues fro' ie's as pro9ec 'ar&ers then a set of '($P(' markers and regions is
automatically created for the pro?ect.
B."2 +e'po 4ased 2usic Producion
B."2." +i'e 4ased 2usic 4asics
'($P(' incorporates a number of features which make it a good choice for tempo based music production.
Come of these elements @such as creating loops and various item propertiesD have already been mentioned in
the conte+t of other uses. Athers 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 seGuencing 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.
Ane advantage that sampling has always had over )D) is sound Guality. There are any number of human
performance techniGues and subtle variations that it are very difficult if not impossible to simulate with )D).
Lowever, 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.
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B - ,oops> 2ar&ers and Regions
Take the e+ample of drum loops. Ane of the biggest problems with using samplers to trigger drum loops has
been that when the tempo changes, so does the pitch. Camplers 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 Guality 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. Jou9re 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.
Nater in this chapter we9ll have more to say
about 'eCycle, and indeed about '($P('9s
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. <hat9s more, the whole track will speed up or
slow down naturally, without glitches, pauses or stuttering.
B."@ Pro9ec 5eings
=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- Ener or choose the command Fi-e> Pro9ec 5eings= from the
main menu. )n particular, check the following1
,nder Pro9ec 5eings, Pro?ect beats per minute.
,nder Pro9ec 5eings, Time signature.
,nder Pro9ec 5eings, Timebase for events. Jou can select Time, =eats @position, length, rateD or
=eats @position onlyD. 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 @position onlyD, the start of the item is locked to
the beat, but the item contents are not affected or modified by tempo changes.
,nder Pro9ec 5eings, Default pitch shift mode and parameter.
'emember that you can change the timebase for individual tracks @right-click, 5e rac& i'ebaseD and for
individual media items @F2, )tem timebaseD. Jou can also change properties such as =eats per inute and Time
Cignature 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. Chortly we will see an e+ample of how this is done.
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B."@." Audio 2edia /e' Properies
Jou can record your own media items or import them from e+isting files. Jou can also change various properties
such as playback rate and pitch for individual media items.
Jou can specify parameter settings for individual
media items and2or 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 F2 @or right click anywhere
in the selection and choose the /e'
properies= commandD.
)n the e+ample shown, we are increasing the
playback rate for the selected items by QK and
preserving the original pitch. >otice that you can
override the pro?ect default pitch shift mode if you
wish. Jou may find that different algorithms work
better with different kinds of audio item @such as
vocal, snare, kick or bass guitarD. ore
information about time stretching can be found in the section +i'e and Pic# 2anipu-aion.
B."@.2 8reaing a ,oop fro' a +i'e 5e-ecion
'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 %0 will introduce you to '($P('9s 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 %0 will show you how to bind these actions to your own shortcut keys.
B."@.@ 8reaing a ,oop fro' +ransiens
$nother method of selecting the area reGuired 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 Nist (ditor @Chapter %0D.
<here no e+isting keyboard shortcut e+ists, you can assign your own if you wish.
)tem navigation1 ove cursor to nearest transient in item 8r- +ab
)tem navigation1 ove cursor to ne+t transient in item +ab
)tem navigation1 ove cursor to previous transient in item 5#if +ab
Time selection1 (+tend time selection to ne+t transient in items
$ssuming that you are using the default key bindings shown above, and that 8r- A- +ab has been assigned to
E3end i'e se-ecion o ne3 ransien in ie's, you can select the item, navigate e+actly from transient
to transient and select the e+act area reGuired.
Jou can select the item, copy and paste it elsewhere,
then right click over it, choosing 8opy -oop of
se-eced areas of ie'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 include1
8opy se-eced area of ie's
+ri' ie's o se-eced area
5p-i ie's a prior Dero crossings
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B."@.4 +ransien 6eecion 5eings
The command Vie%> +ransien 6eecion 5eings
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 and2or volume threshold. (nabling the ;ero
crossings option will help to prevent unwanted clicks from
occurring.
B."@.A 4ea 8orrecion
'($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. Come of them are on the conte+t menus and all of
them are in the $ction Nist. $ny action can be assigned shortcut keys, run from the action list window itself,
and2or added to '($P('9s Acions menu. ore information about the $ction Nist can be found in Chapter %0.
Low you string these actions together is up to you. Lere is an e+ample. Jou 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. <e9re going to assume that you are using the following keyboard assignments1
+ab )tem navigation1 ove cursor to ne+t transient in items.
8r- A- +ab Time selection1 Cwap left edge of time selection to ne+t transient in items
8r- 5#if A- +ab Time selection1 (+tend time selection to ne+t transient in items.
E3a'p-e
)n the e+ample shown here, we have
used our shortcuts to create and e+tend
e+tend the selection out, as reGuired.
<e then instruct '($P(' to 8reae
'easure fro' i'e se-ecion
Edeec e'poF.
<e could do this either from the
timeline9s conte+t menu or using a
keyboard shortcut.
<e then use our keyboard shortcuts to
capture the ne+t time selection
reGuired, 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 reGuired.
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=y right clicking over the timeline we
display the conte+t menu @see left and
belowD and select the command
8reae 'easure fro' i'e
se-ecion Ene% i'e signaureF.
This causes the Edi +i'e 5ignaure
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.
B."@.? PuaniDing /e's
'($P(' allows you to Guanti;e your audio items. This essentially means lining them up according to the pro?ect
tempo or time signature.
Jou might have a situation in which you have copied and pasted a sample several times within a track @or
across several tracksD and you need to ensure that they are correctly aligned. To ensure that all items are
aligned to the beat, you simply do this1
%. 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 marGuee or
8lasso8 them.
!. 'ight click over any of the items, then
choose /e' Processing then PuaniDe
ie' posiions o grid. This causes the
PuaniDe /e' Posiions dialog bo+ to
be displayed.
0. Cpecify your reGuired parameters,
including the note length setting @%25,
%2&, %2!, %, !, etc.D and whether you want the items stretched to fit. $n e+ample is shown on the right.
&. Click on Process for the Guanti;ing to be done.
)n the e+ample above, the option to also Guanti;e item ends and stretch to fit was enabled.
B."4 6yna'ic 5p-iing
Dynamic splitting is a very powerful feature which has a number of applications. Jou have already seen @in
Chapter OD how it can be used to remove silence. For e+ample you might have recorded a pretty good bass line
that you9d like to use for a song. aybe it was recorded at RO beats per minute. The timing might be a bit out at
times but on the whole you9re pretty pleased with it. The trouble is that you want to use %!" beats per minute
for your new song.
Lere9s another e+ample. aybe you9ve recorded a killer slide guitar track. Jou like it but think it would be pretty
clever to give the tune one or two tempo changes. Dynamic splitting is the answer to both these challenges. )t
works on the principle that you can instruct '($P(' to split any media item @or selection of media itemsD
according to criteria that you specify. =asically it works like this1
Jou first select the media item @or itemsD to be split.
Jou right click over the item and choose /e' processing> 6yna'ic sp-i ie's= from the menu.
This causes the 6yna'ic sp-i ie's dialog bo+ to be opened.
Jou 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.
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'($P(' then 8shadow splits8 your selected item@sD. 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.
Jou make such ad?ustments as you wish
to the parameter settings until satisfied
that they are right.
Jou tell '($P(' to split the items.
Ance split, each slice of the original item will be
set to the current timebase. Jou can set any of
the splits to any other timebase you choose.
Jou can use the items together or individually,
according to your needs. Cuddenly you9ve got a
whole library of samples*
Dynamic splitting is non-destructive. This means
that your original audio files @<$P, P0, $)F or
whateverD remain intact. >evertheless, if you
are going to use this method to build a sample
library, it9s 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. Net9s now take a
look at an e+ample or two.
B."4." 5p-iing a 2edia /e' ino
5a'p-es
)n the e+amples below, a recording of a
resonator guitar is selected. <e have then
chosen /e' processing then 6yna'ic sp-i
ie's from the conte+t menu. Ctudying these
e+amples will help you to understand how the
settings work. )n every case, the A ransiens
option should be enabled. These e+amples
should be sufficient to get you started. $fter
that, it9s up to you to e+periment according to your particular needs.
E3a'p-es
Anly 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
track9s response to any such changes.
Consider the two e+amples shown.
>otice @rightD that 4es o %ors has
been selected as the method for
constraining slice length. This option is
likely to be preferred when splitting at
transients. >otice also that we have
specified that we want to keep the beat locations unchanged even if the tempo changes.
>ow let9s 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 Guite longer. This might be appropriate if we are creating samples to be used with a software synthesi;er.
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Lowever, we might want to do some more fine tuning.
)n this ne+t e+ample @lower rightD, we have
increased the minimum slice length and
used the Reduced sp-is 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 Guestion 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 @rightD
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 Guieter
vocal material. Jou are likely to find that a fair amount of e+perimenting is needed to get the settings ?ust right.
B."4.2 8#anging #e Pro9ec +e'po
Ance 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 seGuence1
%. 'ight click over the timeline and choose /nser i'e signaure 'ar&er= from the conte+t menu.
!. Cpecify your reGuired changes in =eats per inute or time signature. )f you wish, you can select the
option for a gradual tempo transition between markers.
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0. Click on (H.
Jou can double-click on any time signature
marker to edit its settings and you can drag it
along the timeline to change its position.
ore information about time signature markers
and their behavior @including editing and moving
markersD can be found near the end of Chapter R.
B."4.@ 8reaing a 8#ro'aic 2/6/
/e'
<hen dynamic splitting you can select the option
to 8reae c#ro'aic 2/6/ ie' fro' s-ices.
This causes a )D) item to be created that
creates one )D) event for each slice, moving up the chromatic scale. Ane common application of this is
for sample triggering.
Cuppose that you have a groove that you have assembled from various items from different sources. Jou 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 seGuence. The midi will then play the groove. oving the midi notes around changes the groove. )t
is also Guite easy to swap out e+actly what it is that is being triggered.
$nother e+ample is hit replacement. Jou can dynamic split a drum part, creating chromatic midi from it. Jou
then have one velocity-sensitive midi note for each hit. )t9s then a straightforward ?ob to delete a bad hit and
use the midi note to trigger a drum sample. $lternately, you can use the whole midi track to trigger a drum
sample to double a recorded part @thereby fattening itD.
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 %!.
,eading Pad, +rai-ing Pad and Fade Pad settings
The e+amples used in this section have not made use of any of these three settings.
Neading pad is the amount in milliseconds @msD by which the split point is pushed left of the transient or gate
open point when you click on Cplit. This works both with transient splits and gate open splits. Dynamic split
works out where to split and then pads it left by your ms value.
Trailing pad pushes the actual split point to the right by the number of ms specified., and by that same value to
the right of the gate close point in gated splits. The actual splits in this case will be to the left and right of the
dark area boundaries if you use both <hen gate opens and <hen gate closes.
The Fade pad option, if enabled, will fade in and out over the length of those pads.
B."4.4 5aving and Using 5a'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 ie's from the conte+t menu. The sample wave file can then be imported for use
with any PCTi sampling plug-in, such as 'eaCamplAmaticQ""".
'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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B."A RE7 Fi-e 5uppor
'(: 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. Jou can import these files into '($P(' either
using the /nser> 2edia command or by dragging and dropping from the edia (+plorer. <hen you do this,
they will automatically position themselves according to the current tempo.
Ance 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 2edia> Video$RE7$2isc there are a number of options available for
determining how your '(: files behave.
Jou can choose to import '(: files as 4ea s-ices #a dyna'ica--y ad9us o e'po c#ange or as A
sing-e -oopab-e ie' a #e curren pro9ec e'po, or ask '($P(' to A-%ays pro'p.
Jou can also specify '(: tail behavior as any of Preserve a-- s-ice ai-s, 8#op a-- bu #e fina- s-ice ai-.
8#op on-y #e fina- s-ice ai-, or 8#op a-- s-ice ai-s
The $ction list also includes a useful action /e': e3p-ode RE7 ie' ino bea s-ices. This can be assigned
its own shortcut key if you wish.
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C - Pic# and +i'e 2anipu-aion
C Pic# and +i'e 2anipu-aion
C." 8#anging Pic# for /ndividua- 2edia /e's
The pitch of any item can be changed from the
2edia /e' Properies dialog bo+. The pitch
is measured in semitones. Jou 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 3".A.
>otice that there is a drop down list that you
can use to select your preferred Pitch shifting 2
Time stretching algorithm. Choices are1
Pro?ect default @from Pro?ect CettingsD.
CoundTouch.
Dirac N( @better Guality, more CP,
intensiveD.
Cimple windowed.
XlastiGue !.!5 Pro @bestD.
XlastiGue !.!5 (fficient @less resource
intensive than elastiGue ProD.
XlastiGue !.!5 CANA)CT @suitable for
monophonic itemsD.
)f you choose one of these YlastiGue
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 elastiGue, go to the ;plane web site
#p:$$%%%.Dp-ane.de$inde3.p#p.
To open the 2edia /e' Properies dialog bo+ for any item, first select the item, then press F2. The default
algorithm is determined by your Pro?ect Cettings. Beyboard shortcuts allow you to easily and Guickly change the
pitch of any selected item or group of items without needing to open the edia )tem Properties bo+1
Heyboard 5#orcu
6escripion
5#if C ove pitch down one semitone.
5#if 7 ove pitch down one cent.
5#if ! ove pitch up one semitone.
5#if B ove pitch up one cent.
Jou can also use a take pitch envelope for pitch changes. 'ight click on the take @or media item if only one
takeD and choose +a&e> +a&e pic# enve-ope from the menu.
For more adventurous pitch shifting
escapades you can try using one of the
pitch manipulation plug-ins that are
supplied with '($P('. Cimply 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.
Chown here is the 15 Pic#:
(cavedo%n plug-in. Ather TC 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 ReaPic#.
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C.2 Using ReaPic#
Cimply insert the PCT 'eaPitch
plug-in into a trackHs 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 @rightD shows
'eaPitch inserted into the F:
chain for a vocal track. The
(lastiGue Coloist algorithm has
been selected, together with the
onophonic parameter. >otice
that the pitch has been shifted
down by !Q cents and the effect
panned Q"K right.
)n the second illustration, you can
see that we have added a second
shifter, this time taking the pitch
up by !Q cents and panning the
effect Q"K 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.
Pic# 5#ifing and 8#anne-
5p-iing
)f you intend to do a lot of work in
this area, you should definitely
take the time to get on top of
'($P('Hs channel splitting
capabilities. These are e+plained
in some detail in the section
2ore REAPER Rouing
E3a'p-es @and elsewhereD. Nook
especially at the e+ample headed
8#anne- 5p-iing and Pic#
5#ifing.
<ith channel splitting, you can,
for e+ample, not only create
several vocal harmonies, but also
apply different F: plug-ins or
plug-in chains @such as 'everb or
DelayD to each of your different
harmonies.
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C.@ Using ReaPic# %i# 2u-ip-e +rac&s
<eHve already looked at how '($P(' can send audio streams from one track to another. NetHs 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 Nead Pocal 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 %Q will help you to
understand how to go about
setting up a signal flow such as
this.
C.4 /nsru'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.
Lowever, it can also be used to help you to
tune an instrument F see illustration on
right.
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C.A Pic# 8orrecion %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, YlastiGue CANA)CT is a suitable algorithm.
$utomatic mode is
illustrated top right. To
apply it, first insert the
Rea+une plug-in into a
trackHs F: window. Jou
should then1
Celect the page
headed 8orrecion.
(nable the
Auo'aic pic#
correcion option.
Celect the reGuired
algorithm and
parameter.
Cpecify 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 trackHs F:
window. Jou should then1
Celect the page
headed 2anua-
8orrecion.
(nable the 2anua-
pic# correcion
option, and other
options as preferred.
(nable or disable the
other options as
reGuired. These are
Updae, Preven
ocave s#ifs, and
Preven
over-apping
seg'ens.
,se your mouse @click
and dragD to draw
your corrections. Jou
can also 8-ear the display at any time.
C.? 8#anging #e Pro9ec P-ay Rae
Jou can ad?ust the play rate for the whole pro?ect, using the Transport =ar. The pro?ectHs default pitch shift
mode will be applied. Jou can use any of these methods1
Click in the Rae edit bo+ and type a new value @e.g., to speed up by %"K type %.%D
Lover the mouse over this edit bo+ and scroll the mousewheel, up to increase play rate or down to
decrease it.
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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 can1
'eset the playrate to %.".
)ncrease or decrease the playback rate by any of the values listed.
(nable or disable the option to Preserve pic# in audio ie's %#en c#anging 'aser p-ayrae.
$pply play rate to the current =P.
Cet the playrate fader range according to any of the available options.
<oe: )f the playrate fader is not visible in your transport bar, you can display it by right-clicking over any part
of the Transport =ar background and selecting the option to 5#o% p-ay rae conro-.
C.7 +i'e 5rec#ing
The +a&e properies and +a&e pic#
s#if$i'e srec# 'ode sections of the
2edia /e' Properies dialog bo+ @F2D
can be used to stretch or shrink the time for
an item.
To do this, ad?ust the P-aybac& Rae. )n
the e+ample shown @rightD, playback rate is
increased by !K and the option to
Preserve Pic# has been selected.
XlastiGue !.% 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 F2. To make the same change for a number of items, do this1
%. Celect all of the reGuired items.
!. Press F2.
0. <hen the 2edia /e' Properies dialog bo+ appears, identify those properties where changes can be
made to several items at once. These include pitch ad?ust and playback rate @see aboveD.
&. 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. @such as Take envelopes and 'ename
fileD. ost options, however, are available.
$nother method that you can use to ad?ust the playback rate of any media item @or selected group of media
itemsD is this1
%. Celect all the reGuired items.
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%O#
Up and Running: A REAPER User Guide v 4.72
!. Lover mouse over the end of one of the items until it turns to a double-headed arrow, as you would for
slip-editing. Lold down A-, click and drag mouse, left to increase playback rate, right to slow it down.
0. 'elease the mouse when finished.
>otice that if you have enabled the
option 6isp-ay 'edia ie'
pic#$p-ayrae if se @Preferences,
$ppearance, ediaD any changes to
Pitch or Playback 'ate will be displayed
on or above the edia )tem@sD in
$rrange Piew.
C.B 5rec# 2ar&ers
Ctretch 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 @which apply to the pro?ect as a wholeD, stretch markers are only applied to the item@sD 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 seGuence1
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.
Celect the item or items to which you want the marker@sD to be added
(ither right click over a selected item, or choose /e' from the main menu.
Choose 5rec# 'ar&ers then either Add srec# 'ar&er a curren posiion to insert a single
marker or Add srec# 'ar&ers a i'e se-ecion to insert a pair of markers at the start and end of a
time selection.
Ctretch markers can then be dragged left or right with the mouse to ad?ust timing. Lolding 5#if A- while
dragging the first of a pair of stretch markers will move both markers together, preserving the distance and
timing between them. Ather 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 @left ofD
the marker and slower after @right ofD the marker.
)n this second e+ample, stretch markers are added at a
time selection.
Neft 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 Chift $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.
Ctretch markers can be snapped to grid using 5nap srec# 'ar&ers o grid or 5nap srec# 'ar&ers
%i#in i'e se-ecion o grid from the 5rec# 'ar&ers menu.
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C - Pic# and +i'e 2anipu-aion
$ stretch marker can be removed by holding A- while clicking on it. arkers can also be removed using either
of the 5rec# 'ar&ers commands @from the conte+t menuD Re'ove a-- srec# 'ar&ers or Re'ove a--
srec# 'ar&ers %i#in i'e se-ecion. 'emoving stretch markers will cause an item9s 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 @from the item conte+t menu, or the main /e' menuD.
<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 8r- 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 8r-
when dragging the marker. .rouping items is e+plained in Chapter O. The following e+ample shows how stretch
markers can be used with grouped items.
These two items have been grouped. Celecting and
adding stretch markers to either item causes the
markers to also be added to the other.
$d?usting the marker position for one item by default
makes the same ad?ustment on other items in the
group.
Parious modifier keys can be used in con?unction with your mouse to modify the behavior when a stretch
markers are dragged. These defaults can be changed by selecting edia item stretch markers on the ouse
odifiers page of '($P('9s preferences @see Chapter %0D.
6efau- 2ouse 2odifiers %#en dragging srec# 'ar&ers
EnoneF ove stretch marker.
5#if ove stretch marker ignoring snap.
8r- ove stretch marker ignoring selection2grouping.
5#ifJ8r- ove stretch marker ignoring snap and selection2grouping.
A- ove contents under the stretch marker.
5#ifJA- ove stretch marker pair.
8r-JA- ove contents under the stretch marker ignoring selection2grouping.
5#ifJ8r-JA- ove stretch marker pair ignoring snap.
)n addition to the commands and mouse actions e+plained above, please note that1
The )tem Properties dialog bo+ includes an option to optimi;e stretch markers for tonal content.
The 6yna'ic 5p-i /e's dialog @see chapter 5D has an option to Rep-ace srec# 'ar&ers. )f
selected, e+isting stretch markers will be removed from the item@sD and replaced with dynamic splits
according to the dialog bo+ settings.
Ceveral Acions 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('9s $ctions and $ctions (ditor,
see Chapter %0.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
%OR
Up and Running: A REAPER User Guide v 4.72
C.C Using +i'e 5ignaure$+e'po 8#ange 2ar&ers
The default pro?ect =eats per inute and Time Cignature for any pro?ect are
determined by the values assigned in the Pro9ec 5eings window. Jou can
change this for the entire song by any of these methods1
Display the Pro?ect Cettings window @A- EnerD 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 Cignature edit bo+ on the transport bar, or ...
Lover your mouse over the =P edit bo+ on the transport bar and scroll the mousewheel up or down @see
rightD.
)f you wish to make time signature or tempo changes within a song, your Pro?ect Cettings should use the
default setting 4eas Eposiion> -eng#> raeF.
The pro?ect tempo map envelope can be used for changes @see Chapter %OD. 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.
Jou can make changes within a song, by inserting a Time Cignature2Tempo 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, or1
%. Position the edit cursor at the reGuired place in the song.
!. From the menu, choose the /nser command, then +i'e
signaure$e'po c#ange 'ar&er @or press 5#if 8D.
0. Cpecify your reGuirements in the dialog bo+ @rightD. $vailable
choices include 4P2, whether to Gradua--y ransiion e'po
o ne3 'ar&er, 5e i'e signaure and A--o% a paria-
'easure before #is marker.
&. Click (H.
Time Cignature markers can later be modified, for e+ample by editing
@double-click on markerD or moving them @drag and dropD. >ote,
however, the following1
Tempo2time signature markers are always pinned to beat
position rather than time.
anually editing time signature markers reGuires them to be placed at the start of a measure.
<ith snap enabled @Chapter OD, time signature changes snap to bars, tempo changes snap to beats.
<ith snap disabled @Chapter OD, moving time signature markers will modify the preceding tempo if
necessary to ensure that the pro?ect contains only complete measures.
Time signature changes that truncate the previous measure are marked with a Y.
Time signature correction may be problematic when a pro?ect contains linear tempo transitions.
Ane tempo2time signature marker cannot be moved past another.
>otice that your 'uler conte+t menu includes
a number of other commands relating to
pro?ect tempo and measure F these are
shown on the right.
>ote also that the Preferences> Audio
5ee&ing page includes the toggle option
P-aybac& posiion fo--o%s pro9ec
i'ebase %#en c#anging e'po F see Chapter %R.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
%#"
"! - +#e REAPER 2i3er and 2aser
"! +#e REAPER 2i3er and 2aser
"!." /nroducion
,p until now, most of the emphasis has been on working in Track Piew. This is hardly surprising, as that is the
area where you will find yourself spending most of your time @at least with audioD 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
'($P(' i+er and its various features and
capabilities. Jou will also learn more about how to
get the best out of the '($P(' aster.
i+er display is toggled on and off using the
Vie%> 2i3er command @8r- 2D.
"!.2 2i3er 8o''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 6aster7 on
the aster track @see rightD, or @when dockedD
right-clicking on the i+er tab in the docker.
This menu offers you a great deal of fle+ibility as
to how the mi+er is displayed. For e+ample, you
can choose whether or not you wish to display
@and be able to manageD your F: and sends in the
mi+er. The main mi+er layout options are
summari;ed in the table overleaf.
Jou can also access the TCP conte+t menu in
i+er view by right-clicking over any track name or number.
"!.@ 2i3er ,ayous and 5creenses
)f the commands on the i+er menu let you select what is displayed in
the mi+er, then mi+er layouts let you decide how it is displayed. The
chapter immediately after this one, Chapter %% - Pro?ect anagement
Features, covers the topic of layouts @TCP and CPD in more detail, but
for now note the following1
Nayouts are created and saved with, and attached to, individual
color themes, not within '($P(' itself. $n e+ample of a compact
mi+er layout is shown here @leftD. Beep in mind that the theme that
you are using might not include this e+act same layout. To select a
theme, use the (pions> +#e'es command.
Nayouts can be accessed by choosing 5e +rac& ,ayou then
2i3er Pane- from the TCP conte+t menu, or (pions> ,ayous
from the main menu, or by the Vie%> 5creenses$ ,ayous
command, then selecting the ,ayous 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 Ccreensets2Nayouts 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 /0" go to ,U,U.co'
%#%
Up and Running: A REAPER User Guide v 4.72
"!.4 2i3er 2enu 8o''ands and (pions
8o''and 6escripion
2aser +rac& Neads to a sub-menu of toggle options for aster Track1
5#o% in 'i3er
5#o% on rig# side of 'i3er
5#o% in separae %indo%
5#o% in doc&er
The Vie%> F-oaing 2i3er 2aser command @from '($P('9s
main menuD can also be used to toggle the floating of the
i+er aster in its own window.
5#o% fo-ders Determines whether track folders are shown.
5#o% nor'a- op -eve- rac&s Determines whether tracks not in folders are shown.
5#o% rac&s #a are in fo-ders Determines whether tracks in folders are shown.
5#o% rac&s #a #ave receives Determines whether tracks with receives are shown.
5cro-- vie% %#en rac& acivaed )f there is not sufficient room in i+er view to display all
tracks, the mi+er will scroll to follow the TCP track selection.
Auo-arrange rac&s in 2i3er i+er track order will follow any changes to track order made
in the TCP. Disable this if you want to arrange tracks in a
different order in the CP and TCP.
Group fo-ders o -ef Places track folders to the left. This can be useful at times in
bringing all your submi+ folders, but confusing at other times
for separating folders from their child tracks.
Group rac&s #a #ave receives o -ef Places all tracks with receives to the left. (specially useful if
the only tracks with receives are all buses.
8-ic&ab-e icon for fo-der rac&s o
s#o%$#ide c#i-dren
(nables folders to be opened2closed to show2hide child tracks.
5#o% 'u-ip-e ro%s of rac&s %#ere
siDe per'is
Chows tracks displayed in up to three rows when tracks will
not fit in one row and the mi+er window has sufficient height.
5#o% 'a3i'u' ro%s even %#ere
rac&s %ou-d fi in -ess ro%s
Causes tracks to be displayed in as many rows as will fit in the
track height, regardless of how few tracks there are.
5#o% sends %#en siDe per'is Displays a Cends bin above the track controls.
5#o% F7 insers %#en siDe per'is Displays an F: chain area above the track controls.
5#o% F7 para'eers %#en siDe
per'is
Chows F: parameter controls1 right-click on any of these to
assign control to an F: parameter.
5#o% rac& icons in 2i3er Track icons @if usedD will be shown in tracks in the mi+er.
5#o% icon for -as rac& in fo-der Displays the last track in folder icon for last track in folder.
6oc& 2i3er in 6oc&er Docks the mi+er in the '($P(' docker.
8-ose Closes the i+er view.
+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 2ouse 2odifiers page of your preferences @see Chapter %0D. Jou can also use the
2ouse 2odifiers page to add further actions of your own. For e+ample, you could assign 8r- 6oub-e-c-ic&
to the action +rac&: 5e o cuso' co-or = Low to assign your own actions is also e+plained in Chapter %0.
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"! - +#e REAPER 2i3er and 2aser
"!.A 5#o%ing and *iding +ypes of 2i3er +rac&s
Take as an e+ample the above pro?ect. )t has two folders @or parentsD - Pocals and )nstruments, containing two
and three child tracks respectively - and one top level track, called 'everb. There are sends from the two folders
to the 'everb track @which acts as a busD, and most of
the tracks have some F: in them.
The first five of the T5#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 6Chow7 command
determines whether the master is shown on the left or
the right.
)n the e+ample shown here we might have reached a
stage in our mi+ing where we are happy with the balance
within our submi+ folders and want to focus on getting
the balance between the submi+es and the level of our
vocal and instrument folders and our reverb buss ?ust
right.
)n this case, we would elect not to show tracks that are
in folders, but to show only folders, tracks that have
receives and our master track @on the rightD.
The e+ample pro?ect shown here is a simple one1
imagine how useful this feature might be if you were
working on a pro?ect with perhaps O" 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 6.roup to left7 commands
could also be handy.
The i+er menu does not have the facility to specifically
hide or unhide named individual tracks. Lowever, this
can be done using the Track anager. The Track
anager will be e+plored and e+plained in Chapter %%.
"!.? )or&ing %i# F7 in #e 2i3er
)f you wish, you can do ?ust about all of your F:
management working in i+er view. Jou 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 track9s F: chain for more complete F: control. For this to be
possible, though, you need to enable on the i+er menu the option 5#o% F7 insers %#en siDe permits. The
table below summari;es these and other activities.
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Up and Running: A REAPER User Guide v 4.72
/n order o do #is ... = you do #is
8#ange #e order of p-ug-ins in #e F7 8#ain. 6rag and drop up or down the order.
8opy F7 fro' one rac& o ano#er Esi'i-ar
o +rac& Vie%F.
6rag and drop F7 to F: area on another track.
6isp-ay F7 cone3 'enu Rig# c-ic& on any displayed plug-in name.
6isp-ay #e Add F7 %indo%. 8-ic& in any vacant area of the F: area.
6isp-ay #e F7 c#ain and #e conro- %indo%
for #a p-ug-in.
8r- c-ic& on any displayed plug-in name.
2ove F7 fro' one rac& o ano#er. A- drag and drop to another track.
(pen and f-oa a p-ug-inNs conro- %indo%. 8-ic& on the plug-in name.
Re'ove a p-ug-in fro' F7 8#ain. A- c-ic& on plug-in name.
Re'ove a-- p-ug-ins fro' a rac&Ns F7 8#ain. A- c-ic& on trackHs F: button.
+ogg-e off-ine saus of a p-ug-in. 8r- s#if c-ic& on plug-in name.
+ogg-e bypass sae for a p-ug-in. 5#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 @such as F-oa F7
configuraionD will not be available. )f you right click over an actual
plug-in name then you will be presented with the full menu. Jou can use
this for any of the following1
Add F7... Apens F: browser for you to add any installed F: plug-in@sD,
Puic& Add F7 Displays a sub-menu of recently used F:1 you can select
any item from this menu to add to the track9s F: chain.
Add F7 8#ain Displays a menu of F: chains, any of which you can
select and insert in this track.
Rep-ace F7... Apens F: browser for you to replace selected F: with any
other1 any e+isting routing configuration will be preserved.
Puic& rep-ace F7... Apens sub-menu of recently used F:, from which you can choose any item to replace the
selected F:.
F-oa F7 configuraion Apens the F: window for the selected plug-in.
5#o% F7 c#ain Apens F: chain for the track1 same as clicking on the track9s F: button.
4ypass c#ain Cets F: chain for this track to bypass. Came as clicking on the track9s F: enable2disable button.
4ypass F7 Cets the individual plug-in to bypass mode.
(ff-ine F7 Cets the individual plug-in offline.
6e-ee F7 'emoves this plug-in from this track9s F: chain.
Rena'e F7 insance $llows you to give an individual name to this particular F: instance.
+rac& F7 Para'eer 8onro-s
Jou 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.
.ou;-- find 'ore usefu- infor'aion abou #is in 8#aper ""> Pro9ec 2anage'en Feaures.
2ean%#i-e> i;s easy o ge sared. ,e;s see #o% you %ou-d go abou creaing a conso-e -i&e
#a s#o%n be-o%.
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%#&
"! - +#e REAPER 2i3er and 2aser
>otice the
rotary faders
for =and !
and =and &
(E gain on
every track.
E3a'p-e
Jou can use one of your e+isting pro?ect files for this e+ample.
%. Apen one of your earlier pro?ect files, for e+ample, A-- +#roug# #e <ig# 2ARHER5 and save it as A--
+#roug# #e <ig# 2/7ER.
!. Display the i+er. ,ndock it, and ad?ust the width and height of
this window as you prefer.
0. From the i+er menu enable 5#o% F7 insers %#en siDe
per'is and 5#o% F7 para'eers %#en siDe per'is.
&. )nsert into the first track an instance of ReaEP.
Q. Celect the band 0 settings page.
O. Click once on the Gain fader control for this band, then click on
the Para' button to display the Param menu.
#. Click on 5#o% in rac& conro-s.
5. Celect the band ! settings page and click once on the gain fader
for this band.
R. Click on the Para' button to display
the Param menu. Click on 5#o% in
rac& conro-s @see aboveD. Close
the (E window.
%". )n the mi+er, you should now see
these two controls displayed for track
%. Drag and drop the 'ea(E from
track % in turn to each of the other
tracks. Cave the file.
<oe ": 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 @see aboveD. Choose
A-- para'eers if you wish to add a control
for each of the F: parameters.
<oe 2: These controls will be added to the track control panel as well as the mi+er panel. Jou could of course
have created as many controls as you like, not ?ust these two. This e+ercise was ?ust an e+ample.
<oe @: <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 /0" go to ,U,U.co'
%#Q
Up and Running: A REAPER User Guide v 4.72
"!.7 )or&ing %i# 5ends in #e 2i3er
(nabling the 5#o% sends %#en siDe per'is 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 track9s sends area will produce a menu with only one command F 5#o%
rac& rouing %indo%. This can also be displayed by left clicking anywhere on the track9s empty sends area.
5#o% send para'eers Apens a small window with parameters
@volume, pan, etc.D for that send.
2ue send Toggles the send9s mute status.
Re'ove send Deletes the send altogether.
5#o% rac& rouing %indo% Apens the track9s routing @)AD window.
Go o send desinaion rac& Celects the send9s destination track.
$s well as this menu, you have a number of other techniGues at your
disposal for creating, editing and managing your sends. Jou can drag
and drop from the )A button of one track to another @as in the TCPD to create sends, but using the sends area
of a track9s channel strip for this purpose offers you more options. This can be seen in the following table1
/n order o do #is ... = you do #is
Add a send fro' one rac& o ano#er. 6rag and drop from one track9s send area or )A
button to the other. )n the latter case, a send control
window will be opened.
Add a send fro' one rac& o ano#er and
open conro- %indo% for #a send.
8r- drag and drop from one track9s send area or )A
button to the other.
Add a send fro' one rac& o ano#er and
disab-e send fro' firs rac& o #e 'aser.
A- drag and drop from one track9s send area or )A
button to the other. ,se this method to create sends
from several source tracks to the same destination
track to create a traditional submi+.
Add severa- sends o one rac& in one
acion
Celect all sending tracks. Lold 5#if while dragging
and dropping from send area or )A button of any
selected track to receiving track.
Add severa- receives o a rac& in one
acion
Celect all tracks from which you want the sends to
come. Lold 5#if while dragging and dropping from
the )A button of the receiving track @unselectedD to any
of the selected tracks.
8opy a send fro' one rac& o ano#er 6rag and drop the send to another track.
6e-ee a send. A- c-ic& on the send.
6isp-ay a cone3 'enu. Rig# c-ic& on any send
(pen enire rouing %indo% for a rac&. 8r- c-ic& on a send or 8-ic& in empty part of sends
area or 8-ic& on the )A button.
(pen #e conro- %indo% for a send. 8-ic& on the send F allows you to change volume
and2or pan, specify send2receive channels, mute etc.
Raise or -o%er #e send vo-u'e -eve-. 8-ic& and drag on a sendHs control knob.
+ogg-e a sendNs 'ue saus on or off. 5#if c-ic& on the send.
>ote that in the above table, those actions which use the )A button can be carried out in both the Track Panel
and the i+er Panel.
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%#O
"! - +#e REAPER 2i3er and 2aser
"!.B 5#o%ing +rac& /cons in #e 2i3er
The option to 5#o% rac& icons in 2i3er @from the i+er menuD can be enabled to
ensure that any track icons that you have allocated will be displayed at the head of
the track9s mi+er panel.
Track icons are inserted using the 8uso' rac& icons, then 5e rac& icon...
commands from the TCP menu. This menu can also be accessed from within the
i+er by right-clicking over a track9s name.
"!.C 2anaging #e 2i3er
<oe: 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.
Jou 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.
Ane option for displaying more tracks is to
enable 5#o% 'u-ip-e ro%s of rac&s %#ere
space e3iss. Chown here is an e+ample of
what might happen when you enable this option.
The problem has arisen that all the tracks have
been sGuee;ed into the window F but now there
isn9t 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: @observe the down
pointing arrows on tracks 0 and &D. <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.
2a&ing 'anua- on-screen ad9us'ens.
)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.
Jou can then either click and drag up or down to drag the boundary up or down for that one
track or @as in this caseD hold 8r- while you drag up or down to move the boundary for all
tracks.
=y holding 8r- and dragging down, we are able to make more room to display the F: inserts,
as shown here. Cee also table below.
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%##
Up and Running: A REAPER User Guide v 4.72
/n order o do #is =. = you do #is
Ad9us re-aive #eig# of e-e'ens for #e curren rac& on-y. 8-ic&$6rag up or down
Ad9us re-aive #eig# of e-e'ens for a-- se-eced rac&s. A- 8-ic&$6rag up or down
Ad9us re-aive #eig# of e-e'ens for a-- rac&. 8r- 8-ic&$6rag up or down
Lere we have ad?usted the boundaries between
the different elements @track controls and F:
insertsD so as to make all of the F: visible.
<e have then made some manual ad?ustments -
for e+ample, the P, meter on the master has
been made taller again by dragging up its top
boundary @shared in this case with the sends
areaD.
Using 'i3er -ayous.
The illustration below @on the ne+t pageD is an e+ample of the other approach, that of using a different i+er
layout. There9ll be more about this in Chapter %%. Lowever,
to choose a mi+er layout for your tracks, you can ?ust do
this1
%. Celect the tracks whose layout you wish to change.
For all tracks, ?ust select one then press 8r- A.
!. 'ight click over any track name then choose 5e
rac& -ayou then 2i3er Pane- then select from the
menu. The layouts that you see listed are attached to
whichever theme you are using and may not be the
same as those shown here.
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This is an e+ample mi+er layout, which may or may not be available from the theme that you are using. To
browse thru, and download, the available '($P(' themes go to http122stash.reaper.fm2. Cample screen shots of
some of the track and mi+er layouts supplied with the '($P(' & default theme are shown in Chapter %%.
"!."! +rac& 8onro- 2enus
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 Cection ! of this ,ser .uide. For e+ample1
'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 trackHs )A button displays the trackHs 'outing <indow. 'ight clicking on this button
displays its routing menu.
Clicking on a trackHs F: button displays the F: chain for that track. 'ight clicking on this button displays
a conte+t menu.
'ight clicking over a trackHs volume or pan fader causes the Polume Control or Pan Naw window to be
displayed.
Cimilarly, the 'ecord $rm, 'ecord onitoring and Celect 'ecord ode buttons serve the same purposes
as they do in Track Piew.
Tracks can also be muted or soloed in the i+er view. =oth buttons use the same mouse modifiers and
have the same conte+t menus as they do in the TCP.
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Up and Running: A REAPER User Guide v 4.72
"!."" /nroducing )indo%s 5creen 5es
<indows screen sets can be used to save and
recall complete on-screen layouts of your
'($P(' windows, including $rrange view, i+er
view, the >avigator, the 'outing2.rouping
matri+, and more. <e9ll e+amine their capabilities
in more detail in Chapter %%, along with some
e+amples in action.
,sing <indows screen sets to save different
combinations of i+er settings can be a useful
step towards fully understanding what screen
sets are and how they work. They can be a great
time saver, because the more you use '($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 as1
<u'ber of +rac&s1 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
0" tracks. For larger pro?ects you are more
likely to show multiple rows.
Pro9ec 5age: 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. Jou should find the following summary information useful.
/n order o do #is =. = you do #is
8reae a )indo%s 5creen 5e $rrange your <indows, including the i+er and its various options
and settings, on screen, e+actly as you want it. )f you want the
primary focus to be on the i+er, make sure that it is selected.
Choose the Vie% 5creenses$,ayous command @8r- ED.
Celect the )indo%s tab.
Click on any item number to select it, then on 5ave to open the
5ave )indo%s 5creeense window @see aboveD.
Celect all of the various options, and make sure that ,as focus is
on 2i3er. )f necessary, type it in.
Click on 5ave.
Jou can accept any default shortcut Noad key that is shown @e.g. F#
for windows screen set V%D or click on Edi s#orcus to open the
$ctions Nist (ditor and assign your own. The $ctions Nist is e+plained
in Chapter %0.
,oad$Reca-- a )indo%s 5creen
5e
(ither use the keyboard shortcut @where one e+istsD, or
Choose the Vie% 5creenses$,ayous command @8r- ED.
Celect the )indo%s tab and double-click on the reGuired screen set
name.
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"!."2 2i3er Appearance Preferences
'($P('9s Preferences window does not have a section specifically labelled i+er, but there are several places
where your choices will affect the i+er and its appearance.
Ane of these is the Appearance> +#e'e Edior 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.
Cimply 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 5ave +#e'e... button
if you want to save your changes.
i+er F: te+t normal color
i+er F: te+t bypassed color
i+er F: te+t offline color
i+er sends te+t normal color
i+er sends te+t muted color
i+er sends te+t )D) hardware color
i+er sends level color
i+er F: knob te+t normal color
i+er F: knob te+t bypassed color
i+er F: knob te+t offline color
<hether you want the P, meters to be interlaced.
P, meter clip indicator color
P, meter top color
P, meter middle color
P, meter bottom color
P, meter interlace2edge color
P, meter show )D) activity
,nder (pions> 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 5e rac& -abe- bac&ground o cuso'
rac& co-ors and to +in rac& pane- bac&grounds. $ny colors selected using the conte+t menu 8uso'
rac& co-ors command @see Chapter &D will be applied to the track panels in your i+er if either or both of
these options is enabled. Chown below is an e+ample of this, with +in rac& pane- bac&grounds enabled1
Ane final preference setting to note is the 5#o% in 'i3er option under Pro9ec> +rac&$5end 6efau-s. =y
default, this option is enabled, which means that new tracks as they are added are automatically shown in the
i+er. Jou should disable this preference if you wish to change this default behavior.
This setting can be over-ridden for individual tracks using the Track anager. This is e+plained in Chapter %%.
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Up and Running: A REAPER User Guide v 4.72
"!."@ 5ereo and 6ua- Panning
The stereo panner and the dual panner are designed to give you more control over how you pan stereo tracks.
The default pan law @stereo balance2mono panD gives you a single pan control which moves the sound between
the left and right speakers.
Lowever, a stereo track is made up of two channels F left and right.
Jou can see these on any stereo wave file that you record or import
into any pro?ect. The output of one channel @the top waveformD is
normally routed %""K left, the other @bottom waveformD %""K
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 %""K left and the second %""K 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. Jou 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. Jou 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, let9s work thru a relatively simple
demonstration.
6isp-aying #e 6ua- Panner or 5ereo Panner
$ny track9s dual or stereo panner can be shown by right-clicking
over the pan fader and selecting the reGuired pan mode. Jou 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+.
E3a'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 %5.
%. Apen the file A-- +#roug# #e <ig#.RPP and save it as A-- +#roug# #e <ig# )/6+*.RPP.
!. ute all tracks e+cept the .uitar =ody and the =ou;ouki.
0. Pan the .uitar =ody %""K left and the =ou;ouki %""K right.
&. Choose the Render command from the Fi-e menu. ake sure that you set Channels to 5ereo, and
select 2aser 'i3 and Enire pro9ec. Celect output format P0 and Add ie's o ne% rac&s in
pro9ec %#en finis#ed @as shown belowD.
Q. Click on Render " Fi-e.
O. $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.
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#. )n this rendered track, the guitar makes up the audio on one channel, the bou;ouki on the other channel.
5. 5o-o this track and play the song.
R. $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 6ua- Pan
option from the pan mode drop
down list @these are e+plained
overleafD.
%%. Play the song. Clowly move the
top pan control to %""K right.
Jou will now hear both
instruments in the right speaker
only.
%!. ove the lower pan control to
%""KK left. >ow you will hear
the guitar in the right channel
only, the bou;ouki in the left
channel only F the opposite of
what you started with.
%0. (+periment moving these
faders. <hen finished, move the
top pan control to %""K left and
the lower pan control to %""K
right. Cave the file.
%&. >ow change the pan mode for
this track to 5ereo Pan.
%Q. Play the song. $t first you will hear only the guitar in the left speaker, only the bou;ouki in the right
speaker. Clowly move the lower @widthD panner from %""K right towards the centre @"<D. $s you do so,
the two instruments will tend to blend more together.
%O. <ith width set at "<, move the top @panD control fully left. The mi+ will now be heard thru one speaker
only. ove it back to the center. Cave the file.
<o% ry #is:
%. ,nsolo and mute the stereo track.
!. Create a folder called )nstruments ?ust after the Pocal track. Celect Ctereo pan mode for this folder.
0. 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. Jou can still ad?ust pan
settings for individual child tracks within the folder as well if you wish.
+ip: This techniGue can do wonders when you are mi+ing vocals, including vocal duets and vocal harmonies*
Pan 2odes
=y default, the stereo width is applied before the pan2balance 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 are1
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Up and Running: A REAPER User Guide v 4.72
5ereo 4a-ance$2ono Pan1 The track is treated as mono, even if it contains stereo media. Cet to center, you
hear the same signal eGually thru both speakers. Cet hard right, you hear it in the right speaker only.
5ereo Pan Nets you control side @panD and width separately. Cide 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 %""K, 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 "K,
you hear both channels eGually in the left and right speakers. <ith side set
hard right, you hear both channels eGually in the right speaker, regardless of
the width setting.
6ua- Pan: Nets 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 eGually in the left and right speakers. <ith
left and right both set hard right, you hear both channels eGually in the right speaker.
"!."4 2aser +rac& (pions and 5eings
The mi+er aster Track controls has the same functions as when the aster Track when
shown in Track Piew. >ote the Autput button @above - by default labelled onoD1
Neft click on the Autput button to toggle between Ctereo
and ono modes.
'ight click on the Autput button to set any one of four
available ono modes @above rightD.
Neft 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 P, area to display the settings that you
can use to control what is displayed in the P, and how it is
displayed @above rightD.
This includes the option to display output in multichannel
mode @e.g. when working with surround soundD. Disabling this option will ensure a two channel display.
"!."A 2aser *ard%are (upus
Autput 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 @)AD button @in the i+erD can also be
used to set up and manage your hardware output or outputs.
'ight click on the )A button to display a menu of hardware
output options. These can be toggled on and off in any
permutation that you reGuire.
Neft Click on the )A 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 @belowD that for each output you can independently control
any or all of the following1
Toggle ute on2off. Toggle phase invert.
Cet Polume level. Cet panning level.
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"! - +#e REAPER 2i3er and 2aser
"!."? 2aser +rac& 8#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. Jou9ll find no shortage of e+amples in Chapter %Q.
Jou can use channels to send two copies of the same signal to two different places. Jou 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 youHll ever want to do, but thatHs not the point. The point is that it will help you to
understand what channel splitting is about and how to do it.
NetHs take an e+ample of using multiple channels @two stereo pairs in factD for our master. <e can use this to
feed some effect @such as reverbD into our signal chain, then send the effect @and only the effectD out to our
headphones @to enable us to assess itD, 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.
E3a'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. Atherwise, you might wish to return to it after you have completed Chapter %Q.
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 %2! and Channels 02&. The signal
that is passed to Channels 02& 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.
%. Apen the file A-- +#roug# +#e <ig#.rpp and save it as A-- +#roug# +#e <ig# 2A5+ER.RPP.
!. Pan the two guitar tracks roughly &"K left and &"K
right respectively. Pan the =ou;ouki about %QK left,
the Po+ around %"K right. Euickly ad?ust the volume
levels for each track to suit, especially to avoid clipping
in the aster. Cave the file.
0. Piew the i+er and enable the options to 5#o% F7
insers %#en siDe per'is and 5#o% sends %#en
siDe per'is.
&. ake sure your Cpeakers and Leadphones are each
connected to different paired sound card outputs.
Q. 'ight click over the /( button in the aster and make
sure that output is directed both to your speakers and
to your headphone amp.
O. To create the reGuired channels, left click on the /(
button for the 2aser +rac& and set the number of
channels to & @as shown, rightD.
#. $ssign the output of channels %2! to your studio
speakers and 02& to your headphones. Jour settings
should appear similar, but of course not identical, to those shown here.
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Up and Running: A REAPER User Guide v 4.72
5. Play the song. For now, it should be heard over the speakers, but
your headphones should still be silent.
R. )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 0,
and a %d= gain on =and &.
%". )n the aster F: chain, click ?ust below the 'ea(E and add
ReaVerbae. Neave 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 0 and & only. The settings for these
outputs are illustrated @rightD.
%%. >ow play the song. The playback thru the speakers will include the
effects of your ReaEP settings but not ReaVerbae. )n contrast, if
you listen thru the headphones, you will hear only the reverb.
%!. >ow click again in the master F: chain and add Rea8o'p after the
reverb plug-in. $d?ust the )nput Cettings for this plug-in so that Channels % and 0 are the ain )nput for
the left, and channels ! and & are the ain )nput for the right, as
illustrated below right.
%0. >ow play the song. Jou can ad?ust the amount of reverb in the
mi+ by ad?usting the vertical )e and 6ry faders in the
ReaVerbae window. Jou can also ad?ust the +#res#o-d
@vertical fader on the leftD and Raio settings for Rea8o'p if
you wish.
%&. Jour speakers will now play the output signal from your aster
TrackHs F: chain, including the reverb mi+ed in. Jour headphones
will still play only the direct output of the ReaVerbae plug-in.
%Q. Cave this file.
"!."7 Avoiding 8#anne- ,ea&age
Jou 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 02& in one or more of your tracks for some other purpose. )n that case, if
you also used channels 02& for the purpose outlined in the above e+ample, then the signal on channels 02& 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 F in this e+ample, you might choose to use Channels Q2O or Channels %%2%!. Cince you
have up to O& channels available to you, this should not normally present you with any
problem.
"!."B Rese VU 2eer Pea&s
>otice that during playback, your P, meters in both track view and mi+er view will display
the peak level recorded for each individual track @see rightD. 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 8r- key while you click your mouse over
the area where the peak value is displayed in any one track.
Jou can also if you wish disable the option under (pions> Preferences> Appearance>
VU 2eers$Faders to Rese 'eer pea& indicaors on p-ay$see&. )f you do this, the
current peak levels will be remembered even when you stop playback. <hen you resume
playback, they will be retained as the peak levels until, of course, a louder passage is
encountered.
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"" - Pro9ec 2anage'en Feaures
"" Pro9ec 2anage'en Feaures
""." /nroducion
)n this chapter we9ll be looking primarily at some of those features of '($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 edia2F: bay, Nocking, modifying a color scheme, using the Track anager,
Ccreen Cets and more. <e9ll start by looking at how you can change a pro?ect9s start time.
"".2 5eing #e Pro9ec 5ar +i'e
<ith many pro?ects you will find that you have a few
seconds of recorded silence before the program material
@instruments and vocalsD actually start. This can create
two annoying problems1
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 "1"&.RO%. <e want to reset this point to Sero.
This is how it is done1
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 "&.O"# into the pro?ect.
Press A- Ener to display the
Pro9ec 5eings window.
Celect the tab labelled Pro9ec
5eings.
Click the button labelled 5ubrac
cursor posiion fro' sar i'e
@see rightD. '($P(' will
automatically enter the correct
position into the Pro9ec sar
i'e bo+ for you.
Click on (H to close the Pro?ect
Cettings interface.
To mark this point, press the letter 2 on your
keyboard. This creates a marker on your timeline
labelled ".
)f you need to refresh your understanding of
markers, look back thru Chapter 5.
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 @see rightD.
)f you wish, you can double-click on the marker to
open up the Edi 'ar&er dialog bo+, where you
can give it a name.
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%5#
Up and Running: A REAPER User Guide v 4.72
"".@ ,oc&ing 2edia /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 @along
with any other
item icons that
you wish to useD
under your
(pions>
Preferences> Appearance> 2edia settings @see aboveD. <hether the icons are displayed on top of the media
items or in a lane above it @as in the e+ample belowD will depend on whether you have enabled the option
6ra% ie' -abe-s above ra#er #an %i#in #e ie'.
Nocking for individual media items is then toggled on and off by clicking on the small padlock item that will be
visible at the top left corner of the media item.
The e+ample above shows a track with two media items. The first item has been locked @notice the closed
padlock iconD. )t can now not be deleted or moved, unless its status is set to unlock. Cimilarly, 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.
Jou can, however, make changes to most of its settings within the )tem Properties dialog bo+ @pitch, play rate,
F: Chain, and so onD or using the media item conte+t menu. The second item, however, remains unlocked
@notice the open padlock iconD. )t can @for e+ampleD be moved, or deleted, or have a fade out added. Jou can
also open the item for editing, in the )D) editor @)D) itemsD or your installed e+ternal editor @audio itemsD.
Nocking and unlocking can also be performed with multiple items. To lock a number of items, simply hold the
8r- 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& 8onro-s
The toggle command ,oc& +rac& 8onro-s @from the
track control panel right-click conte+t menuD can be used
to lock2unlock the controls for any track or selection of
tracks. This prevents you from making accidental
changes, for e+ample, to a track9s volume or pan setting.
)n the e+ample shown here the controls of a track have
been locked.
Jou can hover your mouse over the control of a locked track to see its current setting displayed as a tool tip.
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"".A Pro9ec ,oc& 5eings
The Nocking 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 locking1
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 Nock Cettings window @shown rightD, press 5#if , or right
click over the lock button @the last itemD on the toolbar. The table below
summarises some of the ways in which you are able to make use of this
feature.
,oc&ing (pion 8o''en
+i'e se-ecion 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. Jou can remove a locked time selection by
pressing Esc then selecting .es when prompted.
,oop poins Nocks currently selected loop points.
/e's fu-- 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.
/e's Epreven -ef$rig#
'ove'enF
This option allows you to make any other changes you like to your media
items e+cept move them left or right.
/e's Epreven up$do%n
'ove'enF
This option allows you to make any other changes you like to your media
items e+cept move them up or down.
/e' edges This option disables actions such as slip editing.
/e' conro-s This option disables such actions as adding or modifying fades or ad?usting
the item volume control handle.
Enve-opes 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. Jou 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 %O.
Regions Nocking regions prevents you from changing @for e+ample by moving,
deleting or renamingD e+isting regions. Lowever, you will be able to create
new regions with Nock 'egions enabled.
2ar&ers Nocking markers prevents you from changing @for e+ample by moving,
deleting or renamingD e+isting markers. Lowever, you will be able to create
new markers with Nock arkers enabled.
+i'e 5ignaure 2ar&ers Nocks time signature markers and prevents them from being modified.
E3a'p-e
NetHs suppose that we are happy with the way our media items line up, and we donHt want any of them being
accidentally nudged or moved to the left or right. Jou might then wish to lock their hori;ontal position.
%. Press 5#if , to open the Nocking Cettings window.
!. Tick only /e's Epreven -ef$rig# 'ove'enF.
0. )f Enab-e ,oc&ing is not enabled, click on it to turn it on.
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&. >ow try to drag and drop any of your items to the left or right. They wonHt move.
Q. Press the , key F this toggles locking off again.
"".? 8uso'iDing 8o-ors and Fons
Chapter %R of this ,ser .uide covers '($P('9s preferences in detail. Ane page of settings that can be very
useful is the
'($P(' +#e'e
Edior, which lets
you modify your
theme settings.
This is displayed
by choosing the
Appearance>
+#e'e Edior
page within your
Preferences
window @ rightD.
Themes consist
primarily of three
types of
materials1 image
files, color2font
definitions and
<indows settings.
The image files
provide, for
e+ample, the
track control
items and media
item icons @pan
and volume
faders, mute and solo controls, etc.D.
The definitions apply to items such as the font used for track names and the colors used for media items, track
and mi+er panels, edit and play cursors, markers, P, meters, envelopes, and so on. )f you are not sure what
any of the listed items are, you can use the +#e'e e-e'en finder button to identify them @see belowD.
<indows settings are those items whose appearance is by default determined by your <indows color scheme
and appearance settings @such as <indows list te+t and backgroundD. Jou can tell '($P(' to over ride these.
)n addition to those installed with '($P(', many
themes are available for download from
stash.reaper.fm. To install a downloaded
.'eaThemeSip file, drag and drop it from <indows
(+plorer into '($P('9s $rrange Piew @main viewD.
The ,oad +#e'e = button can be used to select
any available theme. Ccroll thru the +#e'e
co-or$fon conro-s list to see all of the items
which you can change. Click on any item to open @as
appropriateD the color picker or font dialog bo+, where you can change its definition.
Jou can also 6mi+ and match7 - 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 6efau- 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 5ave #e'e... button and giving your theme a name.
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"".7 +#e Pro9ec 2edia$F7 4ay
(vervie%
The Pro9ec 2edia$F7 4ay is a one stop center which you can use for managing and arranging a pro?ect9s F:
and media items. )t is opened from the main menu by the Vie%> Pro9ec 2edia$F7 4ay command. The
window contains five tabs @pagesD. The )tem .roups @Chapter OD and Take Comps @Chapter #D tabs have already
been introduced. The other three are1
5ource 2edia. 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.
2edia /e's. This lists only the items that are actually used in the pro?ect @i.e., activeD. $n item
will appear in this list as many times as it is used in the pro?ect.
F7. This lists the F: plug-ins that are used in the pro?ect.
Jou can drag media files @e.g., from '($P('9s edia (+plorer or from <indows (+plorerD or F: @e.g., from the
F: browserD into the Pro?ect =ay. edia items inserted in this way are added to the 5ource 2edia page. )f the
item is then used in the pro?ect, it will be added to the 2edia /e's page. F: items are added to the F: bay.
Jou can rename items within the Pro?ect =ay, select all instances of a media file or F: within the pro?ect, and
replace media2F: in the pro?ect with any other media2F: from the Pro?ect =ay. Jou can also mute2solo media
items and bypass2unbypass 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 @by recording or insertingD 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 @from the right-click
menuD, 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 Acions and
(pions. Clicking on either of these displays a menu. $s
an e+ample, the (pions menu is shown on the right.
ost of these commands reGuire little e+planation.
2irror se-ecion in bay and pro9ec. <hen enabled,
this causes an item selected in the pro?ect to also be
selected in the bay, and vice versa. Jou can also ensure
that '($P(' will Doo' o a se-eced ie' when this
option is enabled.
Use -as se-eced ie' as source for Tdra% a copyU 'ouse acion. This enables you to use pencil mode
to create copies of the last selected item.
5pace 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% @source or media
itemsD #roug# se-eced rac& allows you to play back the item with, for e+ample, any F: in a particular
track9s F: chain, or any track envelopes, being applied. The Fi-er can be set to use name, path or comment.
ake sure the option 8-ear bay %#en c#anging pro9ecs 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. Jou also have the option to Auo'aica--y reain 'edia ie's %#en #ey are re'oved fro'
pro9ec. This ensures that retain status is automatically assigned when an item is removed from the pro?ect.
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Up and Running: A REAPER User Guide v 4.72
The 6oc& pro9ec bay and 8-ose %indo% commands are self-e+planatory.
The commands on the Acions are shown right. They can be used with and applied to the items @media or F:D
on whichever bay page is currently selected.
<e% pro9ec bay %indo% opens a new pro?ect bay window. Jou can then use this @for e+ampleD to load a
different saved pro?ect bay, whilst keeping the original bay open in the original window.
8reae ne% fo-der. )ndividual pro?ect bay entries can be dragged and
dropped in or out of the folder @see e+ample below, where two folders
have been created, =ells and CtringsD. Folders can be used for source
media items @as shown belowD, edia )tems @in pro?ectD 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.
5e-ec a-- ie's causes all items in the current tab to be selected.
Reain a-- ie'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-- ie's fro' pro9ec will remove all items from the
pro?ect, and Re'ove a-- ie's #a are no used in pro9ec will
remove from the media bay all items that are not used in the pro?ect.
The 2edia E3p-orer button @lower leftD can be used to open the edia (+plorer, from where media items
can be dragged and dropped into the pro?ect bay @as source mediaD 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 4ay button @bottom leftD serves three basic functions. Jou 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 5ource 2edia 4ay and #e 2edia /e's 4ay
The techniGues for working with media items in both of these bays are very similar. The main differences are1
)tems dragged into the =ay are placed in the Cource 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.
Anly items which are active @and therefore included in the pro?ectD 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
Cource edia bay.
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/n order o do #is = = you do #is
8#ange #e co-u'n order Click and drag column header left or right. Jou can do this with any of
the five Pro?ect =ay tabs selected.
*ide$5#o% co-u'ns 'ight click on any header, deselect2select from list.
Add an ie' o 5ource
2edia 4ay
Drag and drop from <indows (+plorer or '($P('9s 2edia E3p-orer.
Jou can drag an entire item or @if using edia (+plorerD a time selection.
+o previe% an ie' Celect the item then press 5pace.
+o add an ie' fro' 5ource
2edia or 2edia /e's 4ay
o a pro9ec
(ither... Drag and drop from =ay into the pro?ect arrange view window,
Ar I Celect track and position cursor in $rrange view. 'ight-click on item
name in =ay and choose /nser ino pro9ec from conte+t menu.
)f not already active, its status will now be made $ctive.
+o re'ove an ie' fro'
%i#in #e pro9ec.
Celect the item and use the 6e-ee key, either from the arrange view
window or within the edia =ay.
+o re'ove an inacive ie'
fro' 5ource 2edia 4ay
Celect item and press the 6e-ee key, or right-click in item row in 'etain
column @to left of item nameD, then choose Re'ove fro' bay.
+o re'ove a-- unused ie's
fro' #e 2edia bay
'ight click on title bar, choose Re'ove a-- ie's #a are no used in
pro9ec from the conte+t menu.
+o re'ove #e reain saus
of an acive ie'
Celect item in bay, right click in 'etain column, choose Re'ove fro'
bay if re'oved fro' pro9ec.
+o re'ove a-- insances of
an ie' fro' pro9ec
'ight-click item in 'etain column for the item, choose Re'ove fro'
pro9ec.
+o reassign reain saus o
an acive ie'
Celect item in =ay, right click in 'etain column, choose Reain from
menu.
+o -ocae a 2edia /e's 4ay
ie' or 5ource 2edia 4ay
ie' in #e pro9ec
Click on the item in the list then on the
Usage button. Click on any item in that
list in order to go to and select that item.
+o 'ue an ie' in pro9ec 'ight-click on item, choose 2ue from the conte+t menu @to toggleD.
+o rena'e any 'edia ie' Celect item in the =ay1 click Rena'e button or use the conte+t menu.
+o add co''en o an ie' Double click in the comments column of the item row.
+o fi-er #e 'edia ie' -is Type a te+t string in the Fi-er bo+ @e.g. vo+ to see only media items
with vo+ in their nameD then click on the Refres# button.
+o c-ear a fi-er Click on 8-ear Fi-er button.
+o rep-ace a 5ource 2edia
or 2edia /e's ie' %i#
ano#er ie'
Celect item name in Cource edia or edia )tems list. 'ight-click and
choose Rep-ace in pro9ec. Then select from flyout menu, e.g. A--
insances or any single instance1 choose the replacement item.
The media format @e.g. P0, <$PD need not be the same for both items.
+o save an ie' se -is fro'
#e 4ay Efor possib-e use in
o#er pro9ecsF
Celect the items, then click on the 5ave button and choose one of the
available options. Jou can 5ave se-eced ie's o a ne% pro9ec
bay, or 5ave a-- ie's as a ne% pro9ec bay. For either of these, you
will be prompted for a new .'ea=ay file name. Jou also have the option
to 5ave and 'erge se-eced ie's o an e+isting pro?ect bay file, in
which case you will need to select the reGuired file from the list.
+o -oad a previous-y saved
ie' se -is.
Click on the 4ay button, choose a .'ea=ay file from the list. Jou may
,oad and 'erge it with the current one, or replace the current one.
+o sor 'edia ie's -is. Click on any column header to sort. Click again to reverse sort order.
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+#e F7 4ay
=asic F: =ay management commands are the same as those used by the edia =ay F e.g., setting retain status
on2off, 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.
/n order o do #is = = you do #is
Add F7 fro' F7 4ay o rac&
or 'edia ie' in pro9ec.
(ither... Celect track or media item in $rrange view, right-click on plug-in
name in F: =ay, choose /nser ino pro9ec
Ar... Drag and drop plug-in from F: =ay to track panel or media item.
(pen F7 bro%ser %indo% Click on the F7 4ro%ser button.
Add F7 o #e F7 4ay Drag and drop from F: =rowser.
,ocae and open F7 %indo%
for any F7 insance
'ight click over the track name or number in
the Track column then click on the reGuired
instance.
The Usage button can also be used for this.
+ogg-e bypass for any F7 Celect the F: then use the 4ypass button, or right-click over F: name
and choose 4ypass from menu. 'epeat this to re-enable the plug-in.
Assign a prese o an F7
@see note below tableD
'ight-click in the Preset column for the F: and select from the menu.
8#ange F7 insance prese. 'ight-click in the Preset column for the F: and select from the menu.
Rep-ace one F7 %i# ano#er
pro9ec bay F7
'ight-click on F: name, choose Rep-ace in pro9ec then select from
the flyout menu of F:. Jou can replace all instances or a single instance.
<oe: Come F: names may occur more than once in the list. )n the e+ample above, 'ea(E 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 soc&
O basic "" band has been applied on two of those instances. Lence these are listed separately in the F: bay.
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"".B +#e +rac& 2anager
The +rac& 2anager @Vie%> +rac& 2anagerD 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 5#o% A-- button @above
rightD to display a list of the pro?ect9s tracks.
Click on the (pions button or right-click on the title bar to display
a menu which includes 2irror rac& se-ecion. This allows any
track selection made in either the Track anager or the TCP to be
automatically applied in the other. Jou can also ensure that when
this is enabled, selecting a track in the Track anager will 5cro-- o
se-eced rac& in TCP and mi+er.
)f your pro?ect includes folders with child tracks, then that hierarchy
is retained within the track manager9s track list. The option to
/nden rac&s in fo-ders can be disabled from the (pions menu.
The other (pions 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 = = you do #is
8#ange co-u'n order Click and drag column header left or right.
*ide$5#o% co-u'ns 'ight click on any header, deselect2select from list.
Ad9us co-u'n %id# Click and drag left or right on boundaries between column headers,
Fi-er #e rac& -is by
na'e
Type te+t in filter bo+1 e.g.7 vo7 to list in Track anager only those tracks
whose name includes vo. Cupports use of >AT and A' filters1 e.g. 6bass A'
guit7 will find all tracks with either bass or guit as part of their track name.
,se the appropriate (pions menu commands to also *ide fi-ered-ou
rac&s in +8P and2or *ide fi-ered-ou rac&s in 'i3er. The 8-ear
button removes the filter.
There is also an option on this menu to Fi-er ou c#i-d rac&s on-y if
fo-der paren is fi-ered-ou.
)f you enable the option 8-ose rac& 'anager on ener &ey in fi-er bo3
from the (pions menu, then pressing (nter in the filter bo+ will
automatically close the Track anager.
8#ange +8P rac& order
in rac& 'anager
Drag and drop tracks up or down. This can be disabled by disabling A--o%
reordering rac&s via rac& 'anager from the conte+t menu.
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Up and Running: A REAPER User Guide v 4.72
+o do #is = = you do #is
6e-ee rac& Celect track row and press 6e-ee. Jou will be prompted to confirm this.
5#o%$#ide 2aser Toggle 5#o% 'aser rac& in rac& 'anager in (pions button menu.
5#o%$#ide rac&s in
+8P$28P
Click in track row in TCP2CP columns. Jou can use the toggle option @on the
(pions buttonD to ,in& +8P$2i3er visibi-iy to synchroni;e track display.
Cupports 65%ipe7 @see last row of tableD.
5cro-- rac& ino vie% Double-click on track number in Z column.
5e$c#ange rac& co-or Click on colored icon to left of track number.
(pen$s#o% rac& F7
c#ain
The F7 column shows the number of F: in each track9s F: chain. Double-click
on that cell to open the F: chain for that track.
Add F7 o rac& or open
an F7 %indo%
'ight click over the track9s F7 ce-- and use conte+t menu.
(pen$s#o% rac& /npu
F7 c#ain
The /<-F7 column shows the number of F: in each track9s )nput F: chain.
Double-click on that cell to open the input F: chain for that track.
2onior p-ug-in de-ay
co'pensaion
$ny plug-in delay compensation used by a track9s F: will be indicated @in msD
in the track9s P68 cell. Clicking on this cell toggles track F: bypass.
Ar'$unar' rac&s for
recording
Click in the R column for any track@sD to arm for recording. The letter ' will
be shown for armed tracks. Click again to unarm. Cupports 65%ipe7 @belowD.
'ight click on any cell in this column to display record menu for that track.
2ue$un'ue rac&s
Click in the 2 column to toggle mute status. $ll the modifier keys used in the
TCP can be used here F e.g. Ctrl ute to unmute all. 'ight-click for TCP mute
conte+t menu F see Chapter &.!. $lso supports 65%ipe7 @belowD.
5o-o$unso-o rac&s
Click in the 5 column to toggle solo status. $ll the modifier keys used in the
TCP can be used here F e.g. Ctrl $lt Colo to solo e+clusive. 'ight-click for TCP
solo conte+t menu F see Chapter &.!. $lso supports 65%ipe7 @belowD.
,oc&$un-oc& rac&
conro-s
Click in the ,oc& column to toggle lock status. Nocked tracks display a J sign.
Cupports 65%ipe7 @see last row of tableD.
2anage 2/6/ ie's
Double-click a track9s )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 options1 (pen in ne% 2/6/ edior> (pen in
e3ising 2/6/ edior> (pen in e3ising 2/6/ edior Ec-ear edior firsF
or Re'ove fro' 2/6/ edior. The third of these options removes from the
)D) editor any tracks2items already open before opening this one.
Free /e' Posiioning
on$off ogg-e
Click in the F/P2 column to toggle on2off Free )tem Positioning. F)P on
shows a J sign. Cupports 65%ipe7 @see last row of ab-eF.
FreeDe$unfreeDe rac&s Celect track@sD in Track anager window, then choose whichever action you
wish from the FreeDe button menu. Cee also Chapter Q.
5or +rac& 2anager -is Click on any column header. Click again to reverse sort order.
5%ipe o ogg-e severa-
ad9acen rac&s
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 drag2sweep down the appropriate column.
2anage rac& groups
The track manager will respect grouped track parameters @Chapter &.%0D. $s
with the grouping matri+, you can use 5#if to temporarily over-ride these.
)n the e+ample shown above this table, the Voca- and Acousic Guiar 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 Vo3
,ead and Vo3 *ar'y tracks are soloed. They are also F)P enabled. The Reverb track uses plug-in delay
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compensation of Q%! ms. Tracks !, 0, Q, O, and %% have all been fro;en, track %% twice.
+ip: Jou can use the 5creenses window to save different sets of Track anager settings as Track Piews, any
of which can be recalled in an instant. Ccreen sets are e+plained later in this chapter.
"".C +rac& Vie% 5creen 5es
Ccreen Cets 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 Ccreen Cet F Track Piews and <indows.
+rac& Vie%s are created and saved on a per pro?ect basis F the screen set data is stored in the pro?ect9s .'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 $pplication Data screensets.ini file. They can be recalled
from, and applied to, any pro?ect file.
The procedure for creating track views is1
,se the Vie%> 5creenses$,ayous
command to show the Ccreen Cets
window @the default keyboard shortcut
is 8r- ED. The Ccreen Cets window may
be docked @or undockedD, and @if
undockedD pinned to stay on top.
$d?ust your track layouts to suit.
Celect a number from the Track views
page of the Ccreen Cets window.
Click on 5ave and name the set.
Jou can create up to %" track view screen
sets per pro?ect file. To recall a view, double
click on its name.
Jou can also assign keyboard shortcuts to
individual screen sets. =y default, 5#if F4 to
5#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#orcus button in the Ccreensets window. This opens the Acion ,is Edior. For
instructions on how to use the $ction Nist (ditor, see Chapter %0.
>otice that there is also an option available
to Auosave %#en s%ic#ing
screenses. )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
6tweak7 this, so that only certain aspects
of your changes are automatically saved.
E3a'p-e
%. Apen the file A-- +#roug# +#e
<ig#.RPP and save it as A--
+#roug# +#e <ig# +RA8H
V/E)5.RPP.
!. $d?ust the track height of your Vo3
track as shown here @rightD.
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%R#
Up and Running: A REAPER User Guide v 4.72
0. )n the Track Piew page of the Ccreen Cets window, click on ", then 5ave to open the 5ave +rac& Vie%
window.
&. Type1 Vo3 Vie% but do not yet press Ener.
Q. Take a look at the five options that are available. <e9ll e+amine these shortly. For this e+ercise, make sure
that only +rac& conro- pane- saus is selected.
O. Click on 5ave.
#. >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.
5. )n the Track views window, click on 2.
R. Click on 5ave to open the 5ave +rac& Vie% window.
%". $gain make sure that only +rac& conro- pane- saus is
enabled and type Guiars Vie%. Press Ener.
%%. To switch between these track layouts, double-click on
their names in the Ccreen Cets window.
This simple e+ample has introduced you to screen sets and how
to use them. =ecause we selected only the option +rac& conro- pane- saus 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 view1
Track Cursor Position
Track Ccroll Position
Lori;ontal Soom
Track Control Panel Ctatus
Track i+er Ctatus
Net9s then now work thru a further e+ample which use options other than track height.
E3a'p-e
%. Lori;ontally ;oom your pro?ect so that only the first &Q secs is displayed. Position the cursor at the &O sec
mark.
!. )n the track view page of the screensets window, click on @ then on 5ave.
0. ake sure that A>NJ +rac& cursor posiion and *oriDona- Doo' are selected.
&. Type a name for the screenset1 Verse ".
Q. Click on 5ave.
Jou can now at any time use track view screen set 0 to ;oom to Perse % 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 8-ear button.
+rac& 2i3er 5aus
>otice that one of the options that you have when saving track view screensets is +rac& 2i3er status. This
option can be used to save any +rac& 2anager settings regarding which tracks are and are not displayed in
the i+er at any time. Cwitching 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 2i3er f-ags in )indo%s screen sets, which allows you to select not which
tracks but which mi+er elements and options @F: inserts, sends, multiple
rows, etc.D are applied.
<oe: $s you ad?ust the height and2or width of your track panel, the display
area for track controls will become smaller or larger. Come control will
disappear and reappear. $n e+ample is shown here.
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"" - Pro9ec 2anage'en Feaures
""."! )indo%s 5creenses
,nlike track view Ccreen Cets, <indows Ccreen
Cets 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 Ccreensets2Nayouts view
@8r- ED, the procedures for creating <indows
screen sets are as follows1
Decide which windows and views you want
displayed, and arrange them on screen as
you wish.
)n the Ccreen Cets window, select the
)indo%s page, select a number, then click
on 5ave. Type a name, then select as
many of the si+ options as you reGuire @see
belowD. Click on 5ave.
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.
Jou can also use keyboard shortcuts with
<indows screensets. =y default, 5#if F7 to
5#if FC are assigned to saving <indows screen sets % to 0, and F7 to FC are assigned to loading them.
These assignments can be changed in the $ctions Nist (ditor @see Chapter %0D.
The options that you may choose to include in or e+clude
from any screen set are1
ain <indow Position
Tool <indow Positions
Docker Celected Tab
i+er Flags
Nayouts
Nast Focus
Come of these are self-e+planatory. )n addition, note that1
The oo- %indo% posiion option will cause the position of
those windows which are defined by <indows as tool items
@such as PCT F: and the )D) (ditorD 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-eced 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 'i3er f-ags option, if enabled, will save your various i+er menu options @F: inserts, sends, folders, top
level tracks, position of master, etc.D with the screen set. These options are discussed in detail in Chapter %".
<e encountered -ayous in Chapter %", in the conte+t of the i+er. Jou9ll find more information about Nayouts
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 Ccreen Cet is loaded.
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Up and Running: A REAPER User Guide v 4.72
""."" Auo 5aving 5creen 5es
Jou have the option to automatically save changes to your Track Piews or <indows screen set layouts. To do
this, simply ensure that the Auo-save
%#en s%ic#ing screenses option is
selected @see rightD.
This can be used to ensure for e+ample, that
if you change the selected tab to be
displayed in the docker before switching to a
different <indows screen set, when you
return to the first screen set, '($P(' will
have remembered which docker tab was last
selected.
)f using auto-save, consider using the Edi
fie-ds... button to decide which elements for
which you want changes automatically saved
@see rightD.
The available options are all items that were
included in your options when you created your screen sets.
""."2 /e' 5e-ecion 5es
=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 follows1
,se the command Vie%, 5creenses$,ayous to display the Ccreensets window.
Celect the 5e-ecion ses 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.
Celect a set number, then click on 5ave.
.ive the group a name and press Ener.
$t any time you can now
recall that group by
double-clicking on its
name, or by selecting the
name and clicking on
,oad.
)n the e+ample shown
here, two selection sets
have been created, one
for Po+ Perses and one
for Po+ Choruses. Cimply
by double-clicking on the
reGuired set name, we
can select all of the items
in either set.
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""."@ +rac&> 2i3er> +ranspor and Enve-ope ,ayous
Nayouts in general, and mi+er layouts in
particular, were introduced in Chapter %".
Nayouts are created, stored and retrieved
with individual themes. ,sing the ,ayous
tab of the Ccreensets2Nayouts window you
can select any theme from the drop down
theme list.
Nayouts are designed and created using a
software tool called <$NT(' @<indows
$rrangement Nogic Template (ngine for
'($P('D 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.
Chown 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 F 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. Jou can hover your
mouse over any item to see how it looks, in this e+ample in the mi+er.
Lere is a summary list of the main layout elements available1
G-oba- ,ayou Celects theme defaults for all layout elements.
+ranspor Celects a layout for the Transport bar.
Enve-ope Pane- Celects a layout for track envelope panels. Cee chapter %O.
2aser 2i3er Pane- Celects a layout for the aster in the i+er panel.
2i3er Pane- Celects a layout for all tracks and folders in the i+er panel.
2aser +rac& Pane- Celects a layout for the aster in the Track control panel.
+rac& Pane- Celects a layout for all tracks and folders in the Track Control panel.
5e-eced rac& pane- Celects a layout for selected tracks in the Track Control panel.
5e-eced rac& 'i3er pane- Celects a layout for selected tracks in the i+er panel.
Chown here is an e+ample of one possible track layout
that you might choose. >otice that this particular layout
uses
vertical P,
meters.
>ote that
you do not
need to
open the Nayouts window to select layouts for a pro?ect. Jou can
also use the (pions> ,ayous command from the main menu
or the 5e rac& -ayou command from the TCP conte+t menu.
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Up and Running: A REAPER User Guide v 4.72
Assigning Acions o ,ayous
<ithin the Nayouts screen you can assign up to !" actions to Guickly recall any layout. These can be assigned to
shortcut keys and2or to custom
toolbars.
)n the e+ample shown here, $ction
V% has been assigned to select a
Track Panel layout called Tracking
and $ction V! is being assigned to
select a different Track Panel called
Pertical @vertical metersD. Jou could
then click on the Edi s#orcus
button and assign shortcuts to the two actions ,ayou: app-y cuso' -ayou Z!"
and ,ayou: app-y cuso' -ayou Z!2. Jou could also use the 8uso'iDe
oo-bar editor to create icons for these actions on one of your toolbars. Cee Chapter
%0 for information on both how to assign keyboard shortcuts and how to create
custom toolbars.
6efau- +#e'e ,ayous
The drop down lists in the various Nayouts categories include many options that you
can e+plore. These include +rac& Pane- specialist layouts for recording and tracking,
and layouts with vertical meters. 2i3er Pane- layouts include narrow channel strips
and wider strips with a sidebar to display F: chains, sends, etc. @see e+ample rightD.
""."4 Fur#er Pro9ec F7 2anage'en
<hile looking at pro?ect management features, it9s worth taking an overview of some
of the options tucked away behind the Para' button in '($P('9s F:
plug-in windows. )n chapters %O and %# you9ll see how this can also be
used to create automation envelopes and for parameter modulation.
eanwhile ...
)f you touch any F: control @such as a faderD with your mouse and then
click on the Para' button you will see a menu similar to that shown
here. )n summary, these options are1
5#o% in rac& conro-s. $dds a rotary fader to TCP and @optionallyD
CP for ad?usting that parameter9s value. Cee Chapter %" and below.
5#o% rac& enve-ope. $dds an envelope for automating that
parameter F see Chapter %O.
Para'eer 'odu-aion. (nables parameter modulation for this item F 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 F see below.
A-ias para'eer. $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.
F7 para'eer -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 @or
unassigningD any of these options to any
parameter, rather than touching it with
your mouse F see right.
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"" - Pro9ec 2anage'en Feaures
+#e ,earn (pion
Net9s 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 Nearn window is
displayed @see belowD.
Twiddling the control @such as fader or rotaryD on your
control surface device will cause information to be
displayed in the 8o''and window about the channel
and CC assignment for this control. This information is
picked up from the control surface.
Choice of CC mode @absolute or relativeD 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 configuraion
is focused is especially powerful F 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 (E 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 F 6efau- conro--er
'appings.
This leads to a flyout menu @rightD. Jou 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.
Ather options on this menu @where a default has previously been savedD are to 8-ear defau- or Use defau-.
5#o% in rac& conro-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 5#o% F7 para'eers %#en
siDe per'is from the i+er menu.
'ight click over any of the controls in the TCP or
CP for menu @see rightD. This menu includes1
Re'ove fro' -is. This removes the control from
the TCP and CP.
,earn> 2odu-ae> 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 2enu @shown in the e+ample below are
'ea(E and 'eaDelayD. This lists the plug-ins in the
track9s F: chain, together with a flyout menu of all their parameters. Jou can use this menu to add controls for
any of these parameters1 the menu includes the option A-- para'eers.)n the CP, when the option 5#o% F7
para'eers %#en siDe per'is is enabled, you can right-click in this area for any track to add controls to
that track. $n e+ample is shown right. The actual menu that is displayed will, of course, depend on which F:
are included in the track9s F: chain.
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Up and Running: A REAPER User Guide v 4.72
+rac& +e'p-aes
=ack in Chapter 0 when you were introduced to recording, we
mentioned track templates and how useful they can be. >ow that
you have discovered a lot more about '($P(', it9s 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 F Bick, Cnare, Toms, Li hat,
etc. F all of which have their own track F: with their own settings,
and with volume and pan faders set at their own levels. Jou could
save the entire folder @parentD with its child tracks and all their
settings into a single track template called Drum Bit.
)tems that get included in track templates include track name,
track control settings, track properties @color, icon, etc.D, track F:
@together with their parameter settingsD, track controls, F: alias
names and F: parameter alias names, parameter modulation, F:
parameters, sends and receives, and more.
To save a track @or selection of tracksD as a track template, choose 5ave rac&s as rac& e'p-ae from the
TCP conte+t menu. To insert tracks from a track template into a pro?ect, choose /nser rac& fro' e'p-ae
from the same menu.
""."A +rac& 8onro- Pane- and 2enu 4ar *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 options1
5e-eced rac&$ie'$enve-ope deai-s
8PU$RA2 usage> +i'e since -as save
+rac&$ie' coun
REAPER ips
<o infor'aion disp-ay
5#o% 'ouse ediing #e-p
The first five of these options are mutually e+clusive1 that is you can
select only one of them. )n the case of the menu bar @right hand endD, you
can select as many or as few of the following options1
5#o% free dis& space
5#o% recording pa#
5#o% recording vo-u'e na'e
5#o% recording for'a
5#o% audio device infor'aion
This menu also gives you access to the Audio> 6evice page of your
preferences and the 2edia 5eings page of your pro?ect settings.
""."? Using 2u-ip-e 6oc&ers
)n Chapter ! you were introduced to working with '($P('9s docker as an aid to navigating your way thru
'($P('9s various views and windows. )n fact you are not restricted to ?ust one docker1 you can create up to %O
dockers if you wish. )n the e+ample shown here, we have two dockers attached to the bottom of the main
window and a floating docker. The first docker @bottom leftD contains tabs for displaying the 'outing matri+, the
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"" - Pro9ec 2anage'en Feaures
i+er, and the edia (+plorer. The second is used to display at any time the Ccreensets window, the Track
anager or the ,ndo Listory. 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 techniGues for docking and undocking
windows, and so on, as e+plained in Chapter !. Jou can attach any docker to the main window in any of the
four positions. Jou can also choose the same position for more than one docker @for e+ample, you might wish to
attach two dockers to the rightD.
+o do #is =
.ou need o do #is ...
6oc& a %indo% 'ight-click on the window9s title bar and choose the command 6oc& = in
6oc&er.
8reae a ne% doc&er Drag and drop any tab from an e+isting docker into the arrange view area.
2ove a %indo% fro' one
doc&er o ano#er
Drag and drop the tab from its present docker to its new one.
Reorder abs in any doc&er Drag and drop tabs left or right.
8-ose a doc&ed ab A- 8-ic& on tab, or click on tab 3 button.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
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Up and Running: A REAPER User Guide v 4.72
+o do #is =
.ou need o do #is ...
Aac# a doc&er o #e
'ain %indo%
Click on the 0 to display the menu,
then choose $ttach docker to main
window, then select a position
@bottom, left, top or rightD.
ore than one docker can be attached
to any of these positions. Click and
drag on the boundary between two
dockers docked in the same position
to ad?ust the position of the boundary
between them @and therefore the
relative si;e of the two dockers.
,se this menu also to change the position of a docker, e.g. from top to left.
""."7 5aving <e% Pro9ec Versions
'($P('9s action list includes an action Fi-e: 5ave ne% version of pro9ec Eauo'aica--y incre'en
pro9ec na'eF which by default is assigned to the keyboard shortcut 8r- A- 5#if 5. This causes a new .'PP
file to be created when you save a pro?ect. Thus, if, for e+ample, you have a file open called <inter=lues.'PP
then running this action would cause this pro?ect in its current state to be saved as <inter=luesM%.'PP. 'unning
the action again would save it as <inter=luesM!.'PP, and so on.
""."B 2u-ip-e Pro9ec 4ac&up Versions
The Pro9ec page of '($P('9s Preferences includes an option when saving to create multiple rpp-bak backup
files. To do this, enable the option Heep 'u-ip-e versions, with or without @as you wishD their own undo
histories. )f enabled, using Fi-e> 5ave pro9ec as... to save a pro?ect @over writing the previous fileD will cause
a new time and date stamped backup version to be created.
Apening the .'PP file will always open the most recently saved version. Lowever, opening the RPP-4AH file will
cause a 8#oose version fro' bac&up fi-e dialog to be displayed. Lere you can select which version you
would like to load. <ith multiple pro?ect tabs you are able to have multiple versions open at the same time.
""."C Associaing Rendered )AV Fi-es %i# 5ource Pro9ec Fi-es
<hen using the Fi-e> Render command to render a pro?ect @or part of a pro?ectD to .<$P file@sD, there is an
option to /nc-ude pro9ec fi-e na'e in 4)F daa. 'endering is discussed in detail in Chapter %5. )f this
option is enabled, the 'PP pro?ect name will be embedded in the rendered file@sD. This ensures that this 'PP file
will remain associated with the rendered <$P file@sD.
)f any file rendered with this option enabled is subseGuently inserted into another pro?ect, then the command
(pen associaed pro9ec in ab: 333.RPP @where 6+++7 represents the associated pro?ect file nameD will
appear under (pen ie's in edior on the media item conte+t menu.
This can be used to create a new pro?ect tab into which it will open the associated 'PP file.
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"2 - 2anipu-aing and Ediing 2/6/ /e's
"2 2anipu-aing and Ediing 2/6/ /e's
"2." /nroducion
'($P(' has a number of techniGues for manipulating and editing your )D) items. )n brief these are1
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 F for e+ample you can create and manipulate multiple takes, add
)D) F: to a takeHs 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. <eHll get to these soon enough.
Jou can open any )D) items or selection of )D) items in '($P('Hs )D) (ditor for detailed editing.
Jou 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 Guick )D) editing, you can edit the track in-line. This makes the itemHs 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, we9ll resolve a couple of other issues of importance to )D) users.
"2.2 2onioring an E3erna- 5yn#esiDer
$n e+ternal synthesi;er can be monitored using )D) or audio input. Tust do this1
Aciviy Procedures
2onior using 2/6/
/npu
)nsert a track and name it. $rm it for recording and turn record monitoring on
Cet record mode to Disable @input monitoring onlyD
Celect )nput1 )D), then the device, then the channel@sD
Apen the track9s routing @)2AD window, select your )D) Lardware Autput.
2onior using Audio
/npu
)nsert a track and name it. $rm it for recording turn record monitoring on
Cet record mode to Disable @input monitoring onlyD
Celect the necessary mono or stereo audio input from the synth9s audio interface.
"2.@ Using +rac& 8onro-s %i# 2/6/
$s mentioned in Chapter &, '($P('9s track volume and pan controls by default control a track9s 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 2/6/ +rac& 8onro-s then select one of the ,in& rac& vo-u'e$pan o 2/6/ options from the
menu. Jou can choose
all channels or any
individual channel.
Jou can also use the
plug-in Rea8onro-
2/6/ with any track.
This is e+plained in detail in Chapter %&.
"2.4 8onro--ing 2/6/ 6aa 5ends
'($P('9s sends and receives can be used with audio items,
)D) items, or both. Jou have already been introduced to
this topic @Chapter &D, and it is covered in more depth in
Chapter %Q. eanwhile, note that the button indicated on
the right can be used to ensure that a send9s fader controls
are used to control the )D) data.
<ith this button enabled, CC messages CC"# for Polume @%!#, ma+D and CC%" Pan @O&, centerD are sent on the
selected channels @by default, all channelsD. )f there are any )D) items @even empty onesD on the sending
track, they are sent when transport starts or stops, or play position changes. Lowever 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 /0" go to ,U,U.co'
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Up and Running: A REAPER User Guide v 4.72
"2.A Accessing #e 2/6/ Edior
The )D) (ditor needs to be opened from an e+isting item. )f you wish to open it with a 6clean sheet7 then you
must first create a new empty )D) item. To do this, select the reGuired track and @optionallyD make your time
selection to define the length of the item. Then choose /nser> <e% 2/6/ /e' from the main menu.
=y default, )D) items created in this way are loop enabled. Jou can change this for an individual items within
its edia )tem Properties dialog bo+, or globally on the Pro9ec> 2edia /e' 6efau-s page of your
Preferences settings. To open the )D) (ditor with a
single )D) item @either already recorded or created
emptyD, you can use either of these methods1
,nless you have changed your default mouse
modifier preferences, double-click on the )D)
item in $rrange view, or
Celect the item and press the default
keyboard shortcut 8r- A- E, or
'ight-click on the item and choose (pen
/e's in Edior, then (pen /e's %i#
4ui--in 2/6/ Edior from the menu.
/'poran <oe0 '($P('9s options allow you to change the default behavior when opening an item @or
selection of
itemsD in the
)D) (ditor. For
e+ample, you
might @or might
notD want them
opened in an
e+isting )D)
editor window.
These options
are e+plained in
Chapter %R, 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 reGuired items, then choose 4ui- in 2/6/ edior, then (pen a-- rac& 2/6/ in ne%
edior from the conte+t menu.
"2.? +#e 2/6/ Edior )indo%
<hen you open an item in the )D) (ditor you will see a display similar to that shown below. )t includes1
+#e 2ain 2enu.
<eHll 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% 2ain 2enuF
Lover your mouse over any button for a tooltip. Jou can customi;e this toolbar to meet your own
reGuirements @see Chapter %0D. The default toolbar icons are described below @left to rightD.
+rac& ,is and 2edia /e' ,ane
These buttons open @onD and close @offD the +rac& ,is and 2edia /e' ,ane panels. )n the illustration
below, both these are set to Aff. These are e+plained in the section )or&ing %i# 2u-ip-e +rac&s
and$or /e's.
Fi-er 4uon
This is the third button on the toolbar. )t opens the Filter (vents window to allow you to decide what you
want displayed in the )D) (ditor. The 5#o% on-y evens #a pass fi-er bo+ toggles your filter
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"2 - 2anipu-aing and Ediing 2/6/ /e's
settings on and off. /nver causes all notes to be displayed e+cept those defined by the filter settings.
(nabling 5o-o will cause only events that pass through the filter to be played.
Jou can choose to display all 8#anne-s, or any combination or permutation of channels.
The Even +ype
drop down list lets
you select any
type of event for
your filter. The
default is A--, but
you can change
this to >ote, Poly
$ftertouch,
Control Change
@CCD, Program
Change @PCD,
Channel
$ftertouch, Pitch,
or Cyse+2eta.
The content of the
Para'eer drop
down lists depend
on the event type
selected. For
e+ample, for >ote
@as shown belowD,
it will display a list
of notes, with
options to filter on note @optionally using the keys in piano rollD or note range, velocity, position in measure
and2or length. Lowever, choosing Program Change @PCD as event type will allow filtering only on program
number and2or position in measure. Pitch can be filtered on low2high values or position in measure.
Position in measure behavior will vary with the event type. For
e+ample, if the event type is >ote, position in measure allows you
to restrict display to a range you define anywhere between " and
%!#. For PC, CC or Pitch, low and high position in measure values
are set to any range within %20! and %.
5e se-ecion causes current filter settings to be applied, and Add
o se-ecion lets you add to the e+isting filter selection. For
e+ample, you can create a filter on >ote then add to it one based
on Pitch. Jou can also specify settings to Re'ove fro' @currentD
5e-ecion. 5e fi-er fro' se-ecion will automatically create a
new filter based on the current )D) (ditor note selection.
To the right of the filter button are four toggle icons, PuaniDe
@on2offD, 88 se-ecion fo--o%s noe se-ecion, 5#o% grid and
5nap o grid. 'ight-click over the Cnap to .rid button to set
behavior for when snap is enabled F A-%ays snap noes o #e
-ef, 5nap noes o end of grid @the defaultD, or 5nap re-aive
o grid. The final icon 6oc& edior can be used to dock and
undock the )D) (ditor window.
The Fi-er 4uon includes a right-click conte+t menu which can
be used to toggle on2.off the options 5#o% on-y evens #a
pass fi-er, /nver fi-er and2or 5o-o.
<oe: )f both edia, )D) preferences to 8reae ne% ie's as .2/6 fi-es and /'por e3ising 2/6/ fi-es
as .2/6 fi-e reference are enabled, the )D) (ditor toolbar will on the left display two further buttons - Fi-e>
5ave 2/6/ fi-e and Fi-e> Rever o saved 2/6/ fi-e.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
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Up and Running: A REAPER User Guide v 4.72
+#e Ru-er
The )D) (ditor follows your $rrange view settings. For e+ample, if the option ,oop poins -in&ed o i'e
se-ecion is enabled, click and drag along the )D) (ditor ruler will define both loop and time selection. +#e
+ranspor 4ar
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 @left to rightD can be used to rewind, start, pause playback, stop playback, ?ump
to end, and to toggle repeat loop mode on2off. The loop area can be set on the timeline in either the )D)
(ditor or the $rrange window. There are also some drop down lists. From N to ', these are1
Grid
This is the grid division bo+. )t is used to specify your reGuired grid division unit. >ote that the units is >otes,
and that you can select from any of the values listed F %2%!5, %2O&, %20!, %2%O, %25, %2&, %2!, %, ! or &.
Grid spacing ype
Aptions here are straight, triplet, dotted or swing. )f you choose swing, several other parameters will also be
displayed on this bar. These are discussed later in the conte+t of Guanti;ing.
<oes
This is used to select the default note length @e+pressed as a fraction of a noteD that is used when new notes
are added. )n the e+ample above, this has been set to be the same as the grid setting. )t can be overwritten
using the main menu (pions> 6ra%ing or 5e-ecing a <oe 5es <oe ,eng#.
5ca-e and 8#ord
(nabling the snap to scale option allows you to select a scale and a chord from the two drop down lists. Jou can
also use the chords button @here labelled 6a?or7D to load a '($P(' .reascale file.
8o-or
,se this to use color to display differences in Ve-ociy, 8#anne-, Pic#, 5ource, +rac& or 2edia /e'.
+rac& ,is
<here more than one track contains )D) item, this selects which track is to be made active in the )D) editor.
8#anne-
,se this to select a channel from % to %O for current editing @or choose $llD.
+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. Jou also
have the option to select Pro9ec 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 2ain )indo%
The main window by default consists of two panels. The larger @topD panel displays your )D) notes. Lere you
do your editing. The default view is Piano 'oll Piew. Click on any piano key to play that note. The smaller
@bottomD panel is the CC lane, used to display various information, such as note velocity or pitch.
+#e 5cro-- 4ars
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) item@sD.
+#e 88 ,aneEsF
=y default, Ve-ociy information is shown in the CC lanes. To change this, either1
Click on the drop down arrow @rightD to see a menu of items @including standard
)D) control messagesD that you can choose to display in the CC Nane 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.
Celect any item from the 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 @Cet
laneD, or add an e+tra lane.
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"2 - 2anipu-aing and Ediing 2/6/ /e's
To remove a lane from view, click on the small minus sign that appears to the
immediate right of its drop down arrow.
Provided the lane height is tall enough, the e+istence of CC messages can also be
seen on the )D) item in the main window @see rightD.
"2.7 8onro- 8#ange 2essages
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 %!#.
Come 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 reGuired.
$ control change message can act as either an override @setting the parameter to the e+act value specifiedD, or
an offset @ad?usting the parameter up or down by the amount specifiedD.
254 and ,54
C= and NC= stand for ost Cignificant =yte and Neast Cignificant =yte respectively. C= control change
messages typically act as coarse controls, while NC= messages generally allow fine ad?ustments. Come control
change messages have both C= and NC= versions. ost )D) devices that contain sounds2patches respond to
both =ank Celect C= and NC= control change messages.
Come of the more commonly used cc parameters are listed below. DonHt worry if you donHt understand them all.
Jou should consult your )D) deviceHs documentation for more details.
Para'eer 6escripion
4an& 5e-ec 254
4an& 5e-ec ,54
any )D) devices offer a total of more than %!5 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 F cc V" @=ank CelectD,
followed by the Cound =ank C= value, then cc V0! @=ank Celect NC=D followed
by the Cound =ank NC= 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-ociy The measure of the speed with which a key on a keyboard is pressed.
2od )#ee- This can add vibrato or other changes to a sound.
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Para'eer 6escripion
4rea# Paries from " @no forceD up to %!# @high forceD.
Pora'eno Determines the smoothness of the glide from note to note
4a-ance Typically used to ad?ust the volume of stereo parts without affecting the panning.
E3pression ,sed to create relative volume changes.
5ound +i'bre The property of a sound that gives it its uniGue 6color7.
5ound Re-ease Determines how long it takes for a sound to fade out.
5ound Aac& Controls how long it takes for a sound to fade in.
5ound 4rig#ness This ad?usts a soundHs filter cutoff, allowing you to create filter 6sweeps7.
"2.B 8onro- 8#anne- 4asics
)D) Data Control Channel @CCD messages can be recorded during live
performance, and edited or manually entered using the CC lane in the
)D) (ditor. The CC Nane 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 Nane, and %!#
at the top of the CC Nane. The e+ample @rightD shows Pelocity.
(+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 Nane 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 reGuired value. To delete an event, select
it, then press 6e-ee.
The ouse odifiers page of '($P('9s Preferences includes the ability
to customi;e left click2drag and double-click behavior when working
with )D) CC events.
"2.C )or&ing %i# 2/6/ Edior
,anes
There are a few especially interesting items
that you can display in your lane or lanes that
are not included in the above table. These are
worth a special mention, because they might
otherwise slip under your radar. They are
Cystem (+clusive messages, Te+t (vents, and
=ank2Program Celect.
"2.C." 5yse3 Evens
Cystem e+clusive @Cyse+D messages are )D)
data that can only be understood by the
particular make and model of the device that
created them. For e+ample, all synthesi;ers
should respond to CC messages like Polume or
Pan control, but system e+clusive messages
created by a 'oland synthesi;er would not be
understood by, say, a Jamaha synthesi;er.
Jou can add a lane which can be used to manage system e+clusive @Cyse+D messages, as shown above. )n this
e+ample, a Cyse+ lane is displayed in addition to a Pelocity lane.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
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"2 - 2anipu-aing and Ediing 2/6/ /e's
Come )D) hardware, especially older devices, accept syse+ messages as a way to initiali;e or change settings
on the device. Cyse+ messages are raw )D) data, represented as a list of he+adecimal bytes.
Cyse+ events may be added, edited, moved, or deleted in the same way as te+t events @see belowD. Double click
in the lane to open the Add 5yse3 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.
"2.C.2 +e3 Evens
The +e3 Evens option lets
you display a CC Nane 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.
Tust double click at any point in
the lane to open the Edi +e3
Even dialog bo+, type your
te+t, specify its type, and click
on (H. $s with system e+clusive events, double click on any e+isting
te+t event to edit it, drag it to move it, right click to delete it.
"2.C.@ 4an&$Progra' 5e-ec
<hen you choose the 4an&$Progra' 5e-ec option for a CC lane,
you can double click at any point to open the 4an& Progra'
5e-ec dialog bo+.
Lere you can select any bank2program combination, and assign it to
any channel. The bank2program combinations available to you will
depend on what instruments you are using @see e+ample, rightD.
)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 Nane bar.
This will open the =ank2Program Celect window
for you to make your changes. $lso, click and
drag to move a program change message,
double-click to edit it. To delete it, simply right
click over its CC Nane bar.
"2."! Using 2/6/ 88 ,anes: +ips and +ric&s
'($P('9s )D) CC lanes include a number of additional features. Lere are some that you might find useful.
"2."!." Genera- 88 ,ane Ediing +ec#niIues
any of the CC message types F such as od <heel, =reath, Portamento, Pan, Polume etc. F can be e+pressed
as a continuous range of values, rather than as discrete items @in the way that te+t events, for e+ample, areD.
For messages of this type there are a number of standard techniGues you can use to enter, edit or delete them.
To enter a single message, click and move @gently pushD the mouse in the appropriate CC lane at the
reGuired 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.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
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Jou can click-hold-drag-sweep to insert a
continuous seGuence of messages. The
e+ample shown @rightD 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.
"2."!.2 Rig# 8-ic& 2arIuee 5e-ecion
Jou can right-click and drag within any CC lane to
make a selection of multiple events. Laving made
your selection, you can work with them in the CC
lane, as well as @if appropriateD in the piano view
window. For e+ample, if the CC lane displays
Pelocity, then there will be one event shown in the
CC lane for each note in the piano view. Celecting
the events in the CC lane will also select the
corresponding notes in the piano roll view.
Jou could then work with those selected events in
the )D) (ditor or work with them in the CC lane
itself. For e+ample you can1
Delete them.
$d?ust their values @up or downD.
'ight click over the CC lane for a conte+t
menu @see rightD. 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
@velocityD you would need to move the events in the piano view window itself and the
velocity events would move with them. )n the latter case @pitch changesD, you would
move the events in the CC lane itself.
"2."!.@ /ne--igen 88 ,ane 6ropdo%n ,is
The CC Nane 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 Pelocity, Pitch, Program, =ank2Program Celect, Te+t (vents and =reath.
"2."!.4 "4-bi 88 ,anes and Acions
The CC Nane 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 Nist (ditor is e+plained in detail in Chapter %0, but in brief1
%. From the )D) (ditor Acions menu choose 5#o% acion -is =
!. )n the $ction Nist, select one of the actions 88: 5e 88 -ane o ... @e.g. Cet CC lane to ""# Polume %&-bit
or Cet CC lane to ""# Polume C=D. Jou can now assign a shortcut key to that action @see Chapter %0D.
Close the $ction Nist (ditor.
0. >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 type1 e+isting data will be displayed and new data can be inserted and2or edited.
"2."!.A ResiDing 88 ,ane *eig#
Jou have three options for changing the height of CC lanes. $ll involve clicking on the dotted 6handle7 @shown
hereD on the 6ceiling7 boundary above the CC lane in Guestion. The mouse cursor becomes a vertical double-
headed black arrow. Jou can then drag the mouse up or down. <hen you have only one CC lane displayed all
three actions do e+actly the same thing. Lowever, when there are two or more CC lanes shown, these three
actions will behave differently.
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"2 - 2anipu-aing and Ediing 2/6/ /e's
8-ic& and 6rag: Cimply click and drag up2down to increase2decrease the portion
of the )D) (ditor window used to show the selected CC lane. )ncreasing this
portion will decrease the height of the piano roll window and vice versa. Ather CC
lane heights remains unaffected.
5#if 8-ic& and 6rag: Chift click and drag up2down will increase2decrease the
height of all CC lanes and ad?ust the height of the piano roll window accordingly.
8onro- 8-ic& and 6rag: Control click and drag will ad?ust the height of ?ust the
one CC lane, leaving other CC lane heights unchanged.
)n addition, you can double-click on the dotted handle @also known as 6grippy
area7D of any open CC lane to toggle between viewing and minimising it.
"2."" ,oop$+i'e 5e-ecions and 5'ar Ediing
To move the position of the cursor, click on the
timeline @rulerD in the )D) (ditor window.
Noop and time selection within the )D) (ditor will
behave in accordance with whether or not you have
enabled the option ,oop poins -in&ed o i'e
se-ecion on '($P('9s main menu. These notes
assume that you have this disabled.
Jou can select an area to be looped, as in the main
'($P(' window, by clicking and dragging along the
)D) (ditor timeline @see rightD. Jou can also use the
timeline in the '($P(' main window to define and
modify loop areas if you wish. ,se the +ogg-e
Repea button on the )D) (ditor Transport =ar to
enable or disable looping.
To make a time selection, click and drag along the
boundary between the piano roll display area and the
CC lane. The mouse cursor becomes a hori;ontal
double-headed arrow @see rightD. >otice that the time
selection is mirrored in '($P('9s $rrange view.
This facilitates the use of smart editing @see Chapter
OD. 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 $rrange view, you could then 8r- 8-ic& 6rag that
area to another track @or elsewhere on the same trackD
and create your copy.
)f using this feature, you should first decide whether
or not you wish to enable Auo-se-ec 88 %#en
'oving$copying %i#in i'e se-ecion from the
(pions menu.
"2."2 <avigaing #e 2/6/ Edior 2ain )indo%
The )D) (ditorHs menus and action list contain any number of techniGues that you can use for precision
navigation1 weHll get to these shortly. First, you should familiarise yourself with the tools that you have available
for 6broad brush7 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. Jou can also use your mousewheel. This
can be customi;ed in the $ctions Nist (ditor @see Chapter %0D, but by default the settings are1
2ouse%#ee-1 Lori;ontal Soom 8r- 2ouse%#ee-: Pertical Soom
A- 2ouse%#ee-: Lori;ontal Ccroll 8r- A- 2ouse%#ee-: Pertical Ccroll
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The keyboard shortcuts PageUp and Page6o%n can be used to ;oom in2out vertically, and J and O to ;oom
in and out hori;ontally. These too can be changed in the $ctions Nist (ditor if you wish.
"2."@ 4asic <oe 5e-ecion and 2anipu-aion
The )D) (ditorHs menus and action list contain any number of techniGues that you can use for precision editing
and manipulation of your notes1 weHll get to these shortly. First, you should familiarise yourself with the most
basic tools that you have available for Guick and basic editing.
+o do #is = .ou need o do #is =
Add a noe Click and drag in the )D) editing area.
6e-ee a noe Double-click on the note.
5e-ec a noe for ediing Click once on the note.
5e-ec a range of noes 'ight click and drag around the selection.
5e-ec a-- noes in a range 'ight click and drag keys in piano roll.
Add o an e3ising se-ecion Lold A- and 8r- while right clicking and dragging around notes.
8#ange a noeNs -eng# Lover 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 reGuired.
2ove a noe Click and drag note to new position then release.
"2."4 +#e 2/6/ Edior 2enus
This section is an overview of the )D) (ditor9s main menu commands. <hen docked, the main menu is not
displayed, but you can access these commands by right-clicking over the windowHs tab in the docker.
+#e Fi-e 2enu
Rena'e 2/6/ a&e ...
'enames the )D) )tem.
E3por o ne% 2/6/ fi-e ...
(+ports active )D) track to a file. )D) events are normally stored in the Pro?ect file itself.
8uso'iDe noe na'es
Displays a sub-menu. ,oad noe na'es fro' fi-e = , 2erge noe na'es fro' fi-e... and 5ave noe
na'es o fi-e = Jou can load names into your )D) item from an e+isting file, or save the note names
from your )D) item into a file. $lso displays a list of recently used
note name files, any of which can be selected.
Rena'e curren noe. $llows you to rename the currently
selected note. $lternately, double right-click on note in piano roll.
Jou are then able to enter the name for the selected note on the piano roll @see e+ample, rightD. ,se +ab
to move to ne+t note, 5#if +ab to previous. <hen finished you can save to a file.
8-ear a-- noe na'es. Clears all note names from the currently open )D) item.
8uso'iDe noe co-ors
Displays a sub-menu. ,oad co-or 'ap fro' fi-e ...$8-ear co-or 'ap Euse defau-sF. ,sed to import
your own .P>. color map file or restore the '($P(' defaults. For more information about how to create a
color map file, go to foru'.coc&os.co'$s#o%#read.p#pX[7BB@C
8-ose Edior
Closes the '($P(' )D) editor, and returns you to the main '($P(' window.
+#e Edi 2enu
Undo> Redo> 8opy> 8u> 5e-ec a-- evens> 6e-ee 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.
Pase> Pase preserving posiion in 'easure
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"2 - 2anipu-aing and Ediing 2/6/ /e's
Paste will paste to the current cursor position. <here a selection of notes @rather than a single noteD has
been cut or copied, the entire selection will be pasted starting at the current cursor position.
Paste preserving position in measure pastes to the ne+t measure after the cursor position, retaining the
relative position of the item pasted.
/nser noe
Cimilar to )nsert >ote at ouse Cursor @using the ) keyD, but positions new notes at the (dit Cursor.
/nser noe a 'ouse cursor
$ very Guick way to insert notes. )nserts new notes @according to the current Cnap valuesD wherever your
mouse is hovering. >ote that since this command takes the mouse cursor as its reference position, you
should use the /nser key to e+ecute it rather than actually display the menu.
5p-i noes
Cplits selected notes @using the C keyD. )f no notes are currently selected, all notes currently under the (dit
Cursor are split.
5p-i noe under 'ouse cursor
Cplits any note currently located under the mouse cursor @based on snap settingsD. Disabling Cnap 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 5#if 5 to e+ecute it.
1oin noes
Toins selected notes together.
2ue evens
utes current note selection.
PuaniDe ...
Apens Euanti;e (vents dialog bo+. Cee the Euanti;e section and the )D) Toolbo+ section for more
information about this feature.
PuaniDe sub'enu
PuaniDe using -as seings> PuaniDe posiion o grid
UnIuaniDe> FreeDe IuaniDaion
Cee the Euanti;e section and the )D) Toolbo+
section for more information about these command.
*u'aniDe =
Apens the dialog bo+ shown here. Lumani;ing can
make the e+act timing of )D) generated music
sound less 6clinical7 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 ...
Apens the dialog bo+ shown here, which can be used to
transpose all or a selection of )D) notes. Jou can transpose by a
specified number of semitones, with a snap to scale option, or
from one specified key2scale to another.
Re'ove se-eced dup-icae noes
'emoves duplicate notes @i.e. duplicate notes of the same pitch
and same starting positionD from selection.
5e noe ends o sar of ne3 noe
$d?usts the end point of all notes in selected range
Reverse
'everses the order of the )D) events within the current item.
+#e <avigae 2enu
This menu presents a number of options for moving notes in any direction, either by grid or by note1
2ove cursor -ef by grid 2ove cursor up one noe
2ove cursor rig# by grid 2ove cursor do%n one noe
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!%#
Up and Running: A REAPER User Guide v 4.72
There are also a number of commands that can be used
to ?ump to and select a note, either instead of or in
addition to any current selection1
5e-ec noe neares cursor
Add noe neares cursor o se-ecion
5e-ec previous noe
5e-ec ne3 noe
5e-ec previous noe %i# sa'e noe va-ue
5e-ec ne3 noe %i# sa'e noe va-ue
5e-ec a-- noes %i# sa'e noe va-ue
Add previous noe o se-ecion
Add ne3 noe o se-ecion
2ove edi cursor o sar of se-ecion
+#e (pions 2enu
6oc& %indo%
Positions )D) (ditor inside the Docker. <hen you do
this, the )D) (ditorHs main menu will not be displayed. This menu can now be accessed by right-clicking
over the windowHs tab in the docker @below rightD.
5ync edior ranspor o pro9ec ranspor
Cynchroni;es )D) (ditor transport to '($P('9s main Timeline.
+i'e for'a for ru-er> ranspor> even properies
.ives you the choice of easures.=eats.%""ths or
easures.=eats.)D)Mticks.
5nap 5eings
Displays a sub-menu of snap toggle options1 5nap noes$88
o grid, A-%ays snap noes o #e -ef, 5nap noe ends o
grid and 5nap noes re-aive o grid.
<oe previe%
Displays a sub-menu enabling you to select any or all of four
situations when you would like notes to be previewed @.i.e. audibly heardD F Previe% noes %#en
insering or ediing, (n ve-ociy c#ange, (n &eyboard acion, and2or A-- se-eced noes #a
over-ap %i# se-eced noe.
88 evens in 'u-ip-e 'edia ie's
Two options are available, either of which can be enabled if you wish. These are 6ra% and edi on a--
rac&s or Edi on a-- rac&s.
6ra%ing or se-ecing a noe ses #e ne% noe -eng#
Aver-rides the default note length set by the drop down >otes bo+ on transport bar.
A--o% 2/6/ noe edi o e3end #e 'edia ie'
)f enabled, this toggle will ensure that the media item length will be e+tended when a note is moved or
copied within a time selection.
Auo-se-ec 88 %#en 'oving$copying %i#in i'e se-ecion
)f enabled, will include CC events when a time selection is copied or moved.
6isp-ay "4-bi 254$,54 88 daa as a sing-e enry ...
)f enabled, ensures that %&-bit C=2NC= CC data will be shown as a single entry @rather than separate
entriesD in event list view and properties,
Auo'aica--y correc over-apping noes
Toggles on and off the automatic correction of overlapping notes.
Use F"-F"2 as sep seIuencer
<hen enabled, the function keys @F% - F%!D can be used to enter notes. These keys are mapped to the %!
Cemitones of an Actave, with F% having the lowest pitch and F%! having the highest pitch. The starting
pitch for F% is set by the location of the highlight bar. )n the e+ample shown @rightD, the starting pitch for
F% is CO. )n this case, pressing @for e+ampleD FQ will create an ( note. =y moving the highlight bar and
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"2 - 2anipu-aing and Ediing 2/6/ /e's
edit cursor, and using Function keys to enter notes, complete arrangements can be Guickly created.
>ormally this mode will also advance the cursor according to the snap settings. Jou can bypass this by
holding 5#if while pressing the function key.
Use a-- 2/6/ inpus for sep recording
Toggles the use of )D) inputs when step recording.
2/6/ edior 'ouse 'odifiers
Apens the mouse modifiers page of your preferences window. Lere you can select actions to be assigned
to mouse behavior in various conte+ts. This is discussed later in this chapter and in Chapter %0.
8uso'iDe 'enus$oo-bars ...
Apens the Customi;e enus2Toolbars window. Cee Chapter %0.
+#e Vie% 2enu
Fi-er evens...> PuaniDe...> *u'aniDe...> +ranspose =
Apens one of these dialog bo+es, which have been discussed earlier in this chapter.
Even properies ...
Apens the >ote properties dialog bo+. This topic is covered later in this chapter, along with +#e Rig#-
c-ic& <oes 2enu.
Ra% 2/6/ daa
Apens a window displaying raw )D) data for currently selected item.
2ode: piano ro--
Displays a standard, white2black piano key view.
2ode: na'ed noes
'eplaces the Piano 'oll view with note names. >ote1 Anly works when using a PCTi that reports note
names, such as F+pansion9s =FD. Check the '($P(' forum to see if a note namer plug-in has been posted
for the PCTi you want to use. For e+ample there are (SDrummer note namers available.
2ode: even -is
Displays the event list. These three modes are discussed in more detail later.
Piano ro-- noes
Displays a sub menu of Recang-es> +riang-es and 6ia'onds to determine
how notes are displayed. Jou also have three toggle options to 5#o% ve-ociy
#and-es on noes, 5#o% ve-ociy nu'bers on noes and2or 5#o% noe
na'es on noes. )n the e+ample shown here, velocity handles and note names are displayed.
8o-or noes by
This command selects the criteria used for coloring notes. The options are Ve-ociy, 8#anne-, Pic#,
5ource Eusing co-or 'apF, +rac& and 2edia ie'. Jou can toggle on2off 5#o% co-or se-ecor in
edior. Jou also have options to ,oad co-or 'ap fro' fi-e and 8-ear co-or 'ap Euse defau-sF.
5#o%$#ide noe ro%s
Displays a sub-menu with three mutually e+clusive commands to determine which rows are shown. 5#o%
a-- noe ro%s, *ide unused noe ro%s. or *ide unused and unna'ed noe ro%s. The hide options
are not compatible with piano roll view.
Piano ro-- i'ebase
Cets the timebase for the piano roll. Aptions are 5ource beas @from media source itemD, Pro9ec beas,
Pro9ec i'e, or Pro9ec synced. For more information, choose +i'ebase #e-p from this menu. Cee
also the e+ample at the end of this chapter.
+#e 8onens 2enu
+rac& ,is$2edia /e' ,ane
Toggles the display of these panels.
2edia ie' se-ecion '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 $rrange view, and vice versa.
8-ear edior %#en c#anging acive 2/6/ 'edia ie' via #is 'enu Es#if ogg-esF
This causes the )D) (ditor display to be cleared when the active item is changed via the contents menu.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
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Up and Running: A REAPER User Guide v 4.72
(ne ie' per ...
Apens sub menu where you can specify one )D) editor window for each item, each track, or the pro?ect.
(pions %#en using one 2/6/ edior per pro9ec
Apens sub menu where you can specify various options which determine how '($P(' behaves when you
are using one )D) editor per pro?ect. Cee section 6anaging ultiple )D) Tracks and )tems.7
Acive 2/6/ ie' fo--o%s se-ecion c#anges in Arrange vie%
$llows you to make any )D) item active in )D) editor by selecting it in $rrange view.
,is of pro9ec rac&s$2/6/ ie'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. Celect an item from this menu to open it in the )D) (ditor window,
closing all other items1 hold Chift while doing so if you do not wish to close all other items.
+#e Acions 2enu
This has two default commands - 5#o% acion -is and 5#o% recen acions. 5#o% acion -is opens the
Acions = window with the 2/6/ Edior section automatically selected. Custom actions and keyboard
shortcuts play an important role in working within the )D) (ditor.
<hen 5#o% recen acions is enabled, the $ctions menu will list
your most recent activities, as well as any custom actions or
keyboard assignments that you have placed there. These commands
can then be e+ecuted from this menu @see e+ample, rightD. There
are some simple e+amples showing you how you can use the
$ctions Nist later in this chapter. The Acions ,is Edior and how
to use it will be covered in detail in Chapter %0.
Finally @on the sub?ect of menusD remember that '($P(' makes
e+tensive use of right-click conte+t menus. Bnowing which
commands are on the main menu is useful, but as you will shortly
see, more often than not youHll use the right click menus and custom actions more than the main menu.
"2."A <oe 8reaing and Ediing
(vervie%
$ )D) )tem can contain data from up to %O channels. The )D) (ditor can display and edit all %O )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 Beyboard,
and hori;ontally according to the duration of each note and their location within the )D) )tem or the Timeline.
Previe% Heyboard
The Preview Beyboard 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 Beyboard will send a )D) note of the corresponding value to the )D) )nstrument that is connected to
the Track. The Preview Beyboard 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.
Enering $ Ediing <oes
)D) notes can be recorded as part of a performance, imported from an e+isting )D) file, or they can be
manually entered using the )D) (ditor.
Using #e 2ouse:
>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 Cnap is enabled, the duration will Cnap to the nearest .rid Nine
@depending on the strength of your Cnap settingsD. >otes can also be entered by double-clicking on the Piano
'oll @in a space not already occupied by another noteD. )n this case, the duration of the note is determined by
the value of the .rid Cetting. >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. $ noteHs velocity can be ad?usted by clicking and dragging up or down from the top of the note, in
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"2 - 2anipu-aing and Ediing 2/6/ /e's
similar fashion to that used for ad?usting the item volume button or handle in '($P('Hs 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#-8-ic& <oes 2enu
/nser noe a 'ouse cursor
$ very Guick way to insert notes. )t will insert notes
according to the current snap values wherever your
mouse floats over. 'emember to use )>C('T key
otherwise you will have to move your mouse cursor*
/nser noe a edi cursor
Cimilar to previous, but wherever the edit cursor is.
8opy$8u$Pase
These are standard <indows editing commands which
perform standard <indows functions.
Pase preserving posiion 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.
5e-ec a-- noes
Celects all notes in this )D) (ditor window
6e-ee noes
Deletes all notes in current selection.
5p-i noes
>otes can be split at the (dit Cursor by selecting 5p-i
noes @5D from the right-click menu. $ll notes that are under the (dit Cursor will be split.
5p-i noes under 'ouse cursor
>otes can be split at the location of the ouse Cursor by selecting 5p-i noes under 'ouse cursor
@5#if 5D from the right-click menu.
1oin noes
Toins all notes in current selection to make one note per row.
2ue noes
utes according to conte+t the current note selection or the note under the mouse cursor.
5e-ec previous noe
5e-ec ne3 noe
Celects previous or ne+t note in place of current selection.
5e-ec previous noe %i# sa'e va-ue
5e-ec ne3 noe %i# sa'e va-ue
5e-ec a-- noes %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.
<oe properies
Lere you can alter the various values attributed to a midi note by
entering values into te+t bo+es. Jou can change any of these1
noe pic#> ve-ociy> posiion> -eng#> c#anne-
Jou 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.
<oe c#anne- E"-"?F
$ Guick way to change the channel for the current note selection. For e+ample, choosing channel 5 will
ensure that a note will use channel 5 -- and will send that note to the vsti or midi instruments channel 5.
<oe ve-ociy E"-"27F
,sed to change the velocity for a note or note selection to a specified value, within the range % to %!#.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
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Up and Running: A REAPER User Guide v 4.72
"2."? Using #e Heyboard
Nooking 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. Come of the most useful of these are
listed here.
>otes can be entered at the position of the edit cursor by using the Beyboard Chortcut / or at the mouse cursor
by pressing /nser. The duration of the note will be determined by the value of the grid setting @from the .rid
Division bo+D. The effect of this is shown in the two illustrations @rightD, before and after.
The Edi 8ursor position on the Timeline is ad?usted by using any of the following Beyboard Chortcuts.
+o do #is = = use #is s#orcu
ove edit cursor right by one grid division. Rig# or 8r- <u' ?
ove edit cursor left by one grid division. ,ef or 8r- <u' 4
ove edit cursor right by one pi+el. 5#if Rig# or 8r- A- <u' ?
ove edit cursor left by one pi+el. 5#if ,ef or 8r- A- <u' 4
<oes can be 'oved using any of the following Beyboard Chortcuts.
+o do #is = = use #is s#orcu
ove selected note@sD down one octave. A- <u' 2
ove selected note@sD down one semitone. <u' 2
ove selected note@sD up one octave. A- <u' B
ove selected note@sD up one semitone. <u' B
ove edit cursor left by one pi+el. A- <u' 4
ove edit cursor left by one grid unit. <u' 4
ove edit cursor right by one pi+el. A- <u' ?
ove edit cursor right by one grid unit. <u' ?
<oe disp-ay can be fi-ered for channels % to %" using any of the shortcuts 5#if " thru 5#if !. 5#if R
removes the note filter and restores all notes to view.
Use F"-F"2 as sep seIuencer:
<hen Use F"-F"2 as sep seIuencer is selected, the Function keys F% thru F%! can be used to enter notes.
The Function keys are mapped to the %! Cemitones of an Actave, 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) (ditorHs
main (pions menu.
<oe Properies:
The keyboard shortcut 8r- F2 can be used to open the >ote Properties bo+, as an alternative to choosing the
command from the right-click menu.
5e-ecing $ Ediing 'u-ip-e <oes:
ultiple notes can be selected by holding down the Ctrl or Chift keys while selecting notes with the mouse, by
drawing a arGuee @'ight-click and dragD around a group of notes, or by using Celect $ll @8r- AD.
The value of all selected notes can be ad?usted by dragging one of the selected notes.
The duration of all selected notes can be ad?usted by dragging the edge of one on the selected notes.
The note velocity of all selected notes can be ad?usted by dragging the Pelocity handle @when activeD of
one of the selected notes.
The default Pelocity value for notes created in the )D) (ditor is taken from the last selected event - e.g. if the
Pelocity of the last selected event was #", then the Pelocity value for the ne+t created note will be #".
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"2 - 2anipu-aing and Ediing 2/6/ /e's
"2."7 Genera- 2/6/ Progra' Pac#es
<e have already seen that you can use a =ank2Program Celect lane
to make program changes within an item. )tHs worth noting that
'($P(' includes a file ..reabank @in the U$pplication
DataU'($P('UData folderD 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 G2.reaban&.
"2."B 2/6/ Previe% 5crub
<ithin Piano 'oll Piew and >amed >ote Piew you can preview your )D) material by clicking and dragging the
edit cursor along the timeline. This is similar to audio scrub1 e+act scrub behavior will be determined by the
settings under (pions> Preferences> Audio> P-aybac&.
"2."C 2/6/ Edior 2odes and Vie%s
"2."C." <oe 2odes
The )D) (ditor has three modes, accessible from the Vie%s menu.1
%. Piano Ro-- Vie% F keyboard shortcut A- ".
!. <a'ed <oes F keyboard shortcut A- 2.
0. Even ,is F keyboard shortcut 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 <oes 2ode:
)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 Piew menu to 5#o% noe na'es
on evens, 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
@Piew menuD to 5#o% a-- noe ro%s, *ide unused noe ro%s and *ide unused and unna'ed noe
ro%s. The first of these options is the default.
Liding unused note rows can make it easier for you to navigate thru the )D) (ditor to work with e+isting
notes. Lowever, 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 noe 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.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
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Up and Running: A REAPER User Guide v 4.72
Even ,is 2ode:
(vent Nist mode
displays the )D)
information as a list
of events, in tabular
form.
)n this mode you can
use the right click
menu @shown leftD to
i@for e+ampleD nsert,
copy, cut paste,
delete or mute any
events.
The full menu is
shown here.
Jou can also double
click on any event to
modify that eventHs
properties @see
e+ample rightD.
Af 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 Nist view is
simpler than that used
in the other two
views. The Fi-er
button @top leftD 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 6e-ee button will delete the currently selected event. The fourth button toggles the
docking of the )D) (ditor on and off.
<oe1 From the (pions menu, the toggle command to 6isp-ay "4-bi 254$,54 88 daa as a sing-e
enry in even -is vie% and even properies dia-og is by default enabled. This causes %&-bit C=2NC= CC
data to be shown as a single entry rather than separately.
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"2 - 2anipu-aing and Ediing 2/6/ /e's
"2."C.2 <oe 5y-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 Piew and >amed >ote
Piew e+amples up to now.
Lowever, 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-- <oes
command and select
Recang-e, +riang-e or
6ia'ond.
$n e+ample which uses
triangles instead of the
default rectangles is shown
on the left.
"2.2! PuaniDing 2/6/ 6aa
The term PuaniDe 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 Guanti;e a group of )D) notes, the program moves
each note to the closest point on the timing grid.
The point of Guanti;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. Euanti;e is available by
choosing the Edi> PuaniDe evens 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
2anua- 5eings option. <e9ll come to ,se .rid shortly.
Chown right is the dialog bo+ interface that appears when
the anual option is selected. The various Guanti;e
parameters are e+plained below.
>otice the 4ypass option @top rightD. Disabled it lets you
see the result of different Guanti;e parameter settings as
you tweak them. (nable this until you are finished if you don9t want this to happen. Toggle it if you want to
compare how your music sounds with and without Guanti;ing applied.
A-- <oes, 5e-eced <oes, A-- Evens or 5e-eced Evens. The first Euanti;e drop down list allows you to
Guanti;e selected notes or events @not ?ust notesD or the whole seGuence @all notes or all eventsD. This can
come in handy if you ?ust need to Guanti;e a certain off section, or perhaps ?ust a certain instrument, such as
the hi-hats of a drum section. The second Euanti;e drop down list works in con?unction with whatever selection
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Up and Running: A REAPER User Guide v 4.72
you make from the first. Jou can choose to have the Guanti;ing of notes and2or events applied to the Posiion
only, Posiion and <oe End, Posiion and <oe ,eng#, <oe End (n-y or <oe ,eng# (n-y.
The 5reng# setting ad?usts how strictly notes are Guanti;ed. The lower you set the strength, the less
9magnetism9 the grid has to the midi notes. This introduces subtle imprecisions to the Guanti;ing which can
make the outcome seem less clinical.
The Grid and ,eng# values determine which units @measured as fractions of a noteD are used for Guanti;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% noes o options @see belowD. .rid type can be straight, triplet, dotted or swing. )f
swing is selected, you will also need to specify swing strength.
2ove -ef and 2ove rig#. )f Euanti;e Position is enabled, these will ensure that notes are individually
Guanti;ed to the start or end of the specified note fraction, whichever is nearest. ove left only will only
Guanti;e notes to the start, move right only will only Guanti;e notes to the end.
5#rin& and Gro%. These are applied if Euanti;e Nength is enabled. '($P(' will e+tend or shorten notes by
moving the end position of each note. Jou can enable either or both of these options.
The (n-y IuaniDe range faders allow you to specify a percentage range for Guanti;ing. Q"K represents the
mid-point between the grid lines. Palues more than Q"K are only really meaningful if 6allow move right7 or
6allow move left7 is disabled. The distance is
measured from the grid line being Guanti;ed to1
normally it will select the closest line so that you will
never be more than Q"K away.
Fi3 (ver-aps can be enabled to stop notes from
overlapping as a result of being Guanti;ed.
<hen the Use Grid Cetting is selected, the Euanti;e
(vents dialog bo+ will be as shown on the right.
From the Grid drop-down list @at the bottom of the
)D) (ditor window, ne+t to the transport barD,
select a note length value @such as %20!, %2%O or %25D and then select an item from the grid spacing ype list.
This can be straight,
triplet, dotted or swing.
)f you choose 5%ing a
strength fader is displayed @see belowD. This can be used to ad?ust the swing setting within a range of -%""K to
%""K, or you can enter a value directly into the 5%ing \ edit bo+ to its immediate right. Jou should also set a
<oes value1 left at .rid, this will take its value from whatever is chosen for the grid. Atherwise you may select
any other reGuired value from the drop down list.
,sed well, swing can result in a more musically pleasing output. )n essence, you define a percentage delay to
be applied on the upbeat. For e+ample, if you apply swing to %2& notes then those which coincide with the %2!
note divisions will be unaffected by the swing, those that fall between these divisions
will be delayed by the amount specified. Cmall amounts of swing @even QK or lessD can
help to prevent a part from sounding too rigid.
Euanti;e is non-destructive F that is to say, the process can be reversed at any time.
The various other commands on the Edi menu that are used with Guanti;ing are1
PuaniDe noes using -as seings
This bypasses the PuaniDe Evens dialog bo+, making it easier for you to apply
the same Guanti;ation settings to various disparate selections.
PuaniDe noes posiion o grid
This Guanti;es notes according to your grid settings.
UnIuaniDe evens
'emoves Guanti;ation and returns the notes to their previous state.
FreeDe IuaniDaion for evens
Free;es the Guanti;ation for all currently selected events.
Chown above is an e+ample. The top picture shows two unGuanti;ed notes selected. )n the second picture they
are Guanti;ed by moving them left. )n the third picture, they are Guanti;ed by moving them to the right.
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"2.2" /npu PuaniDaion
The term /npu PuaniDe refers to a
process by which )D) notes are
automatically Guanti;ed as they are
entered. This could be, for e+ample, by
playing your )D) keyboard, or even
the '($P(' Pirtual Beyboard.
)nput Guanti;e is applied on a per track
basis. Cimply right click over the
trackHs P, eter and choose +rac&
Recording 5eings from the conte+t
menu. This causes the dialog bo+
shown on the right to be displayed.
Jou should then select the option to
PuaniDe rac& 2/6/ recording.
Aptions then available include1
The note length to be used for
Guanti;ation @e.g. %25D.
Jour Guanti;e positioning
preference. Aptions are
<eares va-ue, Previous
va-ue and <e3 va-ue.
<hether to Guanti;e note-offs.
Euanti;ation strength. $ lower setting will allow more subtle variation, creating a more 6human7 effect
by allowing minor variations in how strictly the Guanti;ation is applied.
Cwing setting. This can be between "K and %""K. Jou 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.
Euanti;e within K range. These are similar to the >early Euanti;ed and Far From Euanti;ed faders in
the Euanti;e (vents dialog bo+ @see previous sectionD.
"2.22 *u'aniDe <oes
Lumani;e >otes @from the (dit menuD can be used to
introduce subtle variations F some might say
imperfections* F 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 <oes dialog bo+ @rightD can be used
to introduced random variations in timing and velocity
to an e+isting )D) item to make it sound I well, more human*
"2.2@ F@ - +#e Panic 4uon
The F@ key can be your best friend when you are working in the )D) (ditor @and also when you are playing
back )D) items in '($P('9s main $rrange PiewD. Pressing F0 will set all notes to all )D) outputs off, until you
stop and recommence playback.
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"2.24 Using #e 2/6/ Edior: a 4asic E3ercise
)n this e+ample, you will be introduced to some simple e+amples which involve working with the '($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. AC2:
users will need to adapt some of the steps to suit their own environment.
E3a'p-e
%. Create a new pro?ect file. $dd one track to it. $rm this track for recording and set its input to your )D)
keyboard if you have one, or to the virtual keyboard if you do not.
!. 'ecord about !" or 0" seconds of a very simple tune on Channel %. This might be part of a nursery rhyme
or some other song with which you are familiar. Jour Track and )tem will look something like this1
0. )f you are using <indows, display the trackHs /( @'outingD window and add a )D) Lardware Autput to
2icrosof G5 )aveab-e 5) 5yn#.
&. Play the tune. )t should play with a piano sound.
Q. Double click on the item to open it with the )D) (ditor.
O. Check the first two )D) toolbar buttons to make sure that neither the Track Nist nor edia )tem Nane are
displayed F you do not need them for this e+ercise,
#. Display the drop down note-length list @labeled >otes1D and set it to %2!.
5. Ccroll your mousewheel up or down until you are satisfied with the hori;ontal ;oom setting. ,se 8r- with
the mousewheel to find an acceptable vertical ;oom setting. Jou should see something like this.
5. Tust for fun, draw in a few more notes by clicking and dragging in the edit window. (+periment with
using your mouse to move them about and change their length @by clicking and holding over a noteHs
right edge and dragging left or rightD. Delete any that you do not want to keep.
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R. >ow Soom out hori;ontally to see the entire length of the item.
%". Display the 88 ,ane ,is and choose 4an&$Progra' 5e-ec @see rightD.
%%. $t the very start of the song, double click in the CC Nane. Celect the bank
Genera- 2/6/ and the program 8#urc# (rgan. Click on (H.
%!. 'eturn to the start of the timeline and play the tune. )t should sound like a
church organ.
%0. Draw in a number of long 6dronish7 notes as shown below. arGuee them
@right click dragD to select them all @but only your new notesD.
%&. 'ight click over any of the selected items, choose <oe
8#anne- from the menu, then channel 2.
%Q. Double click in the CC Nane,at the start of the song. Celect
Genera- 2/6/, 8#oir Aaa#s and 8#anne- 2 @see rightD. Click
on (H.
%O. Play the song from the start. Jou should hear an organ with a
choir. The choir may seem too loud.
%#. Change the CC lane to display !7 Vo-u'e 254.
%5. Click on the Channel Filter Nist @on the toolbarD and choose
Channel !. >ow only your $aahs are displayed.
%R. Click, hold and drag your mouse as you sweep along the CC
Nane with a fairly low volume setting, as shown below.
!". 'emove the channel filter and restore all channels to view.
!%. Display the Color drop down list and choose Channel.
!!. Close the )D) (ditor and save the file.
!0. Play it. The choir should now sound a lot Guieter.
!&. Continue if you wish to further e+plore the )D) (ditor on your own.
"2.2A )or&ing %i# 2u-ip-e 2/6/ +rac&s and$or /e's E(vervie%F
From $rrange view you can make )D) items available for editing by choosing the command (pen in bui--in
2/6/ edior from the right click conte+t menu. =y default, double-clicking on the item has the same effect.
'($P('9s e+act behavior here will be determined by your Ediing 4e#avior> 2/6/ Edior preferences F see
also Chapter %R. )n brief, this is where you select one of three options F 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
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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-clicked1 The double-clicked item will be the
selected and active item.
)f (ne 2/6/ edior per pro9ec 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 @see rightD.
<ithin the )D) (ditor itself, your default
preference settings can be changed and overridden from the 8onens menu. This will be discussed shortly
Tracks and items can be managed in the )D) (ditor by displaying the 2edia /e' ,ane @second button on
toolbar togglesD and the +rac& ,is @first button on toolbar togglesD. =oth these options are also available on
the 8onens 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 Nist @right of windowD and the edia )tem Pane @foot of windowD
are displayed. )n a moment, we9ll e+amine these more closely.
)n the )D) (ditor each item is assigned three Gualities F visibility status, active status and editability status.
These can be set as reGuired 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. Acive means that the item can be used for
inserting, copying, pasting notes, etc. Ediab-e means that mouse edits @move, lengthen, etc.D and commands
such as Guanti;e, transpose and humani;e can be performed on an item9s notes. Ane and only one item at a
time may be active, but as many items as you wish may at any time be visible and2or editable. >ote that1
$n item can be visible without having to be editable or active. Ane or more items may be visible.
$n editable item will also be visible but need not be active. Ane or more items may be editable.
$n active item will also be editable and visible. Ane and only one item is active at any time.
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"2 - 2anipu-aing and Ediing 2/6/ /e's
$n item can be made active using the track list @see below rightD. $ track can be made active from the
8onens menu or using the drop down list near the end of the transport bar @also see below rightD. )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 Evens 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 6ulti7 or
6$ll7. $lternately, you can simply use the drop down channel list to select 6$ll.7
The 2/6/ column in the +rac& 2anager @Chapter %%D can also be used to open items in2remove items from
the )D) (ditor, and to show items in2hide 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 list9s conte+t menu @see belowD.
"2.2? 2anaging 2u-ip-e 2/6/ +rac&s and /e's
+#e +rac& ,is
Track Nist 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 Nist conte+t menu.
Jou can choose between Auo'aic 'ode and 2anua- se-ecion
'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 item9s 6make active7 icon @green down pointing arrowD to make it active, or the green padlock icon
to make it editable.
Jou can choose @mutually e+clusiveD 5e-ecion -in&ed o visibi-iy or 5e-ecion -in&ed o ediabi-iy.
Tracks made visible or editable will automatically be added to the track selection.
Two mutually e+clusive options from the )D) (ditor (pions menu are repeated here1 these are 6ra% and
edi 88 evens on a-- rac&s and Edi 88 evens on a-- rac&s.
Jou can use the command 8#oose %#ic# rac&s appear in rac& -is to hide tracks from or restore them to
the track list. Celecting this command causes the 7 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 8#oose %#ic# rac&s appear in rac& -is from the conte+t menu to implement your
selection. Jou can also choose whether 2edia ie' se-ecion 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 5#o% oo-ips in 2/6/ 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 item1 it is therefore also editable and visible. guitar break !
is editable and visible, guitar break 0 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. Jou 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 6make active7 icon of any other item. Jou can then use the various other
icons to set Gualities such as icon color or editability for the entire selection.
The small colored sGuare to the right of an item name opens the color picker1 this can be used to select a
different color to be used for this item in the edia )tem Nane.
The column to the right of the color picker is the 6make active7 column. Click here to make any item the current
item for inserting events @shown by the green arrowD. )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 %D the scroll settings for the )D) editor window,
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Up and Running: A REAPER User Guide v 4.72
and !D the channel filter, to ensure that the reGuired 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 @or item selectionD in the )D) (ditor.
The gray2red circle to the right of this @for tracksD 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 2 button to the right of this to toggle mute status for individual tracks or items.
,se the 5 button to the right of this to toggle solo status for any track.
Jou can also use the 8onens menu @from the )D) (ditor main menuD to override and change your current
)D) (ditor preference settings. For e+ample, you can1
,se the (ne 2/6/ edior per command and select 2edia ie', +rac&, or Pro9ec.
,se the (pions %#en using one 'edia ie' per pro9ec command and change the setting for
4e#avior for Topen ie's in bui--in 2/6/ ediorU to any of c-ic&ed 2/6/ ie' on-y, a-- se-eced
2/6/ ie's, a-- 2/6/ ie's on sa'e rac& as c-ic&ed ie' or a-- 2/6/ ie's in pro9ec.
The 8onens menu also makes available a number of toggle options to be applied when a-- 2/6/ ie's in
pro9ec is selected. These are (n-y 2/6/ ie's on sa'e rac& as acive ie' are ediab-e, 8-ear edior
%#en c#anging acive 2/6/ ie' Es#if ogg-esF and 8-ose edior %#en acive ie' is de-eed in
Arrange vie%. For more about )D) preferences and options, see Chapter %R.
There is also a toggle option Acive 2/6/ ie' fo--o%s se-ecion c#anges in Arrange vie%. This enables
you to make any )D) item active by selecting it in $rrange view.
+#e 2edia /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. $s with the track list, you can use controlWclick to build a selection.
The individual media item right-click conte+t
menu offers you various options for setting
items to custom colors or random colors.
"2.27 Ediing 2u-ip-e 2/6/ /e's
)n order to be able to edit different )D) items at the same time you will first need to select those items that
you wish to make available for editing, as e+plained in the previous section. Jou can then perform normal
mouse editing activities on any part of the selection, such as copying or moving, ad?usting velocity, stretching,
shrinking, etc. The table below gives some e+amples of how you can apply this to various )D) editing tasks.
2/6/ Ediing %i# 2u-ip-e /e's: 5o'e +ips and E3a'p-es
These notes assume that you are by now familiar with the basic )D) editor navigation and editing techniGues
e+plained earlier in this chapter and, for e+ample, shown in the e+ercise in section %!.!&. )ndeed, you are
advised not to e+periment with editing multiple )D) items until you are confident that you have mastered the
techniGues for editing the contents of a single )D) item.
+ip: =efore attempting any of these editing tasks in the )D) editor, check your channel filter settings to make
sure that the notes to be edited are actually visible*
/f you %an o do #is = = do #is0
8#ange rac&$ie' na'e. Double-click on name in track list and edit.
8opy$'ove a noe Eor noe
se-ecionF o ano#er ie'
%i#in 2/6/ edior.
ake sure source item@sD editable. Celect note@sD, press 8r- 8 @copyD or
8r- 7 @cutD. ake the destination item active. )f reGuired, position play
cursor. Press 8r- V @pasteD.
8opy$'ove a noe Eor noe
se-ecionF o ano#er ie' in
Arrange vie%.
ake source item@sD editable in )D) (ditor. Celect note@sD, press 8r- 8
@copyD or 8r- 7 @cutD. Celect destination item in $rrange view, make it
active in )D) (ditor, position play cursor. Press 8r- V @pasteD.
2ouse edi a se-ecion of noes
in 'ore #an one 2/6/ ie'.
ake items editable. Celect notes and use mouse @e.g. drag to move,
click drag from edge of any note to lengthen or shorten notesD.
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/f you %an o do #is = = do #is0
6e-ee se-ecion of noes across
'ore #an one ie'.
ake items editable. Celect notes and press 6e-ee key.
2ue$Un'ue noe se-ecion
across 'ore #an one ie'.
ake items editable. Celect notes and press A- 2, or use 2ue evens
command from Edi menu.
8#ange noe properies for a
se-ecion of noes
ake items editable. Celect notes and press 8r- F2. ake changes then
(H.
PuaniDe> *u'aniDe> +ranspose
across 'u-ip-e ie's.
ake all reGuired items editable. ake note selection and choose (dit
menu command, e.g. Euanti;e, Lumani;e, Transpose.
Ad9us ve-ociy of noes
se-eced in %o or 'ore ie's.
Display velocity lane and make items editable. Celect reGuired notes.
Click2drag mouse up2down from top edge to increase2decrease velocity.
Edi 88 daa across 'u-ip-e
2/6/ ie's.
Display CC lane and make items editable. Celect reGuired events and
perform edit as reGuired with mouse or via (vent Properties dialog.
5#o%$*ide a-- 2/6/ ie's on
rac&s in +rac& ,is.
8-ic& @for one trackD or 5#if c-ic& @for all tracksD on diamond symbol to
the left of any track name in Track Nist @toggleD.
5#o%$*ide a-- rac&s$2/6/
ie's in +rac& Fo-der.
8-ic& on circle symbol to left of folder name in Track Nist @toggleD.
"2.2B 2/6/ Edior 2ouse 2odifiers
The ouse odifier dialog can be opened by the (pions>
2/6/ edior 'ouse 'odifiers command. For much more
about mouse modifiers see also Chapter %0.
There are several areas in which you can modify mouse
behavior within the )D) (ditor. These include 2/6/ noe,
2/6/ noe edge, 2/6/ 88 -ane, 2/6/ 88 even, 2/6/
5ource -oop and 'ar&er, 2/6/ ru-er, 2/6/ 'ar&er$
region -anes, 2/6/ piano ro-- and 2/6/ edior. )n many
cases separate conte+ts are also available for click, drag and
double-click behavior. Jou can define how your mouse behaves 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 reGuired
when @sayD 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.
Chown here are two e+amples1 the default actions
for the conte+ts )D) note left drag @above rightD
and )D) piano roll left drag @rightD. =y default many
actions are already defined. For e+ample, simply
dragging a )D) note @or selection of notesD will by default move the note@sD, whereas holding Ctrl while you do
this will copy them. $s you go down the list some of these defaults become Guite interesting. For e+ample,
holding Chift and $lt while dragging a marGueed selection of notes will stretch the selection out hori;ontally so
as to arpeggiate the notes.
Cimple click and drag in the empty piano roll area will first draw a note, then e+tend it as the mouse is dragged.
Parious 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.
any key combinations are not assigned. Click on any of these for a list of actions that you can use. Jou can
also use this method to change any e+isting assignments. Chown below right are some of the actions which are
available to be assigned to any modifier in con?unction with left click2drag with )D) notes. )f you use the )D)
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Up and Running: A REAPER User Guide v 4.72
(ditor a lot, you should take the time to e+plore ?ust what is available for the different conte+ts.
Take the time also to look at the 2/6/ Edior rig# drag assignments. $s well as several variations to set
marGuee behavior @select notes, add notes,
toggle selection, etc.D there is also an action
using 8r- A- to select all notes touched while
freehand dragging.
"2.2C 2/6/ Edior Acions
'($P('Hs $ction list (ditor lets you assign
keyboard shortcuts to any command or action, or
seGuence of actions, including many not shown
on the )D) (ditor menus. Chapter %0 will show
you how to use the $ction list editor, including
adding actions to the )D) (ditor menus.
The $ction list is displayed by choosing 5#o%
acions -is from the Acions
menu. Ane of the first things
to notice about it is that it
contains a whole load of
assignable actions beyond
those that are shown on
'($P('Hs menus. This means
that you are able to create
your own keyboard shortcuts
for any of these actions, and
even for seGuences of actions.
>otice also @rightD that when
using the )D) (ditor $ction
Nist, you are able to assign
)D) commands and actions
to keystrokes so that those
keys will behave differently in
the )D) (ditor from the way
they behave in the main '($P(' environment. Jou can see that thereHs Guite a few, and that some already have
keys assigned to them. Jou can assign your own keys to other actions.
NetHs take a simple e+ample. =eing able to select notes Guickly and easily is important when you are working
with the )D) editor. )f in the $ction Nist filter bo+ you type add noe then only those actions which included
these characters will be displayed @see aboveD. Ane of these is Add ne3 noe o se-ecion. Jou can assign a
shortcut to this action F perhaps the letter >.
E3a'p-e
%. <ith any )D) item open in the )D) (ditor, choose the Acions> 5#o% acions -is command.
!. Click on the action Add ne3 noe o se-ecion.
0. Click on the Add= button. This causes the Heyboard or 2/6/ /npu window to be displayed.
&. Press the letter <. Click on (H. Jou can see that this keystroke has now been assigned to this action.
Q. 8-ose the $ctions Nist.
O. 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. Jou could now move these notes together, or assign them to a different channel,
or delete them, or perform any other editing action.
JouHll see in Chapter %0 that the $ctions Nist (ditor lets you do much more than this. For e+ample, you can1
Chain together any seGuence of actions so that the seGuence can be e+ecuted with a single keystroke.
$dd actions and custom actions to your )D) (ditor toolbar and2or the )D) editor $ctions menu, and2or
any of '($P('9s )D) (ditor menu commands @File, (dit, >avigate. Aprtions, etc.D
'($P('9s )D) (ditor commands @such as (dit -Z Delete events, (dit )nsert note, (dit Euanti;e,
>avigate Celect ne+t note, Aptions Correct overlapping notes when editing, etc.D can all be found in
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"2 - 2anipu-aing and Ediing 2/6/ /e's
the $ction list. )n addition there are many hundreds of actions, some very precise, which are not shown
on the menus. The table that follows should help guide you thru many of these.
8aegory$Group
E3a'p-es of 2/6/ Edior assignab-e acions@not fully comprehensiveD
<oe$even se-ecion Celect all notes with same note value, Celect note nearest to edit cursor, Celect all
muted notes.
$dd ne+t2previous note to selection, $dd note nearest edit cursor to selection.
Celect2unselect all CC events, Celect2unselect all CC events in last clicked lane.
Celect all notes in time selection, Celect all notes starting in time selection, Celect
all CC events in time selection @several variationsD.
<oe ediing$
'anipu-aion
Color notes by velocity2channel2media item custom color2using colormap2by track
custom color.
Delete all notes2trailing notes less than [%2%!5 to %25\ note in length.
Nengthen2shorten one grid unit2one pi+el.
ake notes legato, preserving note start times2relative note spacing.
ove notes down2up one octave2semitone or left2right one grid unit2one pi+el.
)nvert selected2all notes.
)nvert chord voicings.
'everse selected2all notes.
(dit note velocity W2- "%2%".
Cet note length to grid si;e2double2half.
Trim left2right edge of notes to edit cursor.
)nsert note [%2%!5 to %] note length.
Cet note ends to start of ne+t note.
Cet note position to edit cursor.
Cplit notes on grid.
Copy2cut2duplicate notes within time selection, Fit notes to time selection.
Paste events into active media item regardless of source media item @allows items
to be copied from a selection of media items into a single media item.D.
,oop$i'e se-ecion Noop point1 set start2end point. 'emove loop point. Double2halve loop length.
Cet time selection to selected notes, 'emove time selection, 'emove time and
loop point selection.
ove cursor to start2end of loop2time selection.
Acivae ie'$rac&
@when working with
multiple items2tracksD
$ctivate ne+t2ne+t visible2previous2previous visible )D) item. $ctivate ne+t2ne+t
visible2previous2previous visible )D) track.
88 -ane 'anage'en >e+t2previous CC lane. Cet CC lane to +++.
8#anne- disp-ay Chow only channel ++, Chow only ne+t2previous channel, Toggle channel ++, Color
notes2CC by channel.
8ursor 'ove'en Cursor advance [%2%!5 to %\. Cursor advance [%20!T to %2&T\.
,yric evens $lign lyric events with notes. )mport lyrics for selected noted from file.
)nsert2edit te+t2lyric event at first selected note.
Celect ne+t2previous lyric event. Chift lyric events backward2forward one note.
2ouse 'odifiers $ctions are available to set mouse modifier behavior within the )D) (ditor for
each of the categories CC event left click2drag, CC lane left drag, )D) editor right
drag, note edge left drag, note left click, note left drag, piano roll left click, piano
roll left drag, ruler left click and ruler left drag. The list of actions is e+haustive.
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"2.@! /n-,ine 2/6/ Ediing
'($P('Hs main )D) (ditor is recommended for serious and in-depth editing of your )D) items. Lowever,
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 ie's in Edior then (pen ie's in /n--ine Edior. 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 Pelocity lane will be selected by default. Jou 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) editor1
>ote editing mouse actions, including change length, change velocity, marGuee, move, delete and insert.
ost commands on the )D) (ditorHs (dit and Piew menus, including Guanti;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 Page6o%n will ;oom vertically
in and out within the in-line editor. Jou 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 is1
The 2ove 88 %i# evens toggle tool1 serves the same purpose as its eGuivalent
tool in the )D) (ditor window.
The 5#o%$*ide tool @magnifying glassD1 toggles between the functions Chow all
note rows, Lide unused note rows and Lide unused and unnamed note rows.
The /e' 5y-e tool1 toggles between rectangle, triangle and diamond note
display style.
The Verica- 5cro--$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
@see e+ample, rightD. Jou can double-click on this button to ;oom to contents.
The 7 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 O 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 item9s F: chain. Celecting a )D) item in
$rrange view and pressing F2 will display its )tem Properties window where you can shift pitch, change play
rate, loop enable2disable, and do much more.
"2.@" 8opying 2/6/ /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 occur1
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. JouHre still
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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 @such as 8r- 5#if 8 and
8r- VD, the former method @with common source dataD is applied. The items are also added to the Pro?ect
edia =ay @see Chapter %%D where they are listed as )D) pool items.
)f you wish to change this default behavior, you should disable the preference @under (pions, Preferences,
2edia, 2/6/D to Poo- 2/6/ source daa %#en pasing or dup-icaing 'edia ie's @see also Chapter
%RD. )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 2edia ie' drag. =y default, the following apply when dragging )D) items1
6rag and drop ove item ignoring time selection
8r- with drag and drop Copy item as discrete item
5#if 8r- A- with drag and drop Copy item, pooling )D) source data.
For a complete list of mouse modifiers, see the (diting =ehavior, ouse odifiers page
of your Preferences. Celect 2edia ie' -ef drag from the conte+t list. Jou can
change any assignments if you wish. The method is e+plained in Chapter %0.
Jou can remove any individual )D) item9s pooled status and convert it into a discrete
item. To do this, either display the item9s source properties window @8r- F2 or use the
conte+t menuD and click on Un-poo- #is ie', or click on the item9s pooled status icon @see rightD.
"2.@2 1oining 2/6/ /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.
Jou can select all of the items @right-click and drag is often the easiest way to do thisD and glue them together1
right-click anywhere on the selection and choose G-ue ie's from the conte+t menu.
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Up and Running: A REAPER User Guide v 4.72
Jou can then double-click on the glued item to open the )D) (ditor, from where you can e+port it as a single
)D) file @Fi-e, E3por o ne% 2/6/ fi-e =D.
"2.@@ E3poring Pro9ec 2/6/
From $rrange
view, the Fi-e>
E3por Pro9ec
2/6/ =
command can be
used to e+port
either an entire
)D) pro?ect or
selected items or
tracks within that pro?ect to a single )D) file.
$n e+ample of such a pro?ect file is shown here.
)t includes si+ tracks with )D) events @ a
different channel for each trackD, enclosed in a
folder whose F: chain includes a virtual
instrument. For the most part, the options
shown here reGuire little e+planation.
Jou can choose to e+port the Enire pro9ec
time or the current +i'e se-ecion on-y.
Jou can include A-- media items within the
pro?ect, or 5e-eced rac&s on-y or 5e-eced
ie's on-y. )n the e+ample shown, A-- )D)
items has been chosen.
Jou can merge the various )D) tracks to a
sing-e 2/6/ rac& in the output file or e+port it
as a 2u-irac& 2/6/ fi-e, with the integrity of
the different tracks maintained in the output file.
Jou also have options to E'bed e'po 'ap
and2or )rie pro9ec 'ar&ers as 2/6/ cues.
"2.@4 Feedbac& Rouing %i# 2/6/ +rac&s
<e have already mentioned @Chapter !D that '($P('9s pro?ect settings allow you to use feedback routing. Jou
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.
"2.@A 2/6/ Rouing> 2/6/ 4uses and Re)ire
'($P('9s )D) routing capabilities can be enhanced by the use of )D) buses. =y default, your )D) tracks can
contain up to %O )D) buses, each comprising %O )D) channels. <hen sending )D) data from one track to
another, you are able to specify bus2channel 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) send2receive windows @below rightD.
)D) data sent from one track to another in
this way can be directly routed to any PCT or
$, synth in that track9s F: chain. To do this,
right-click over the plug-in9s 6! Aut7 button and
choose the reGuired )D) =us from the )D)
)nput menu @below rightD.
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The same conte+t menu can also be used to assign )D) Autput to any bus, and2or to assign the synth9s audio
output to any track channel or channels.
'e<ire users may be interested to know that )D) data routed in
this way can be also be mapped to 'e<ire, using any permutation
of buses2channels that you reGuire. For more information about
using 'e<ire with '($P(', see Chapter %Q.
"2.@? 5o'e 2/6/ P-ug-ins
'($P(' includes a
good selection of plug-
ins that can be placed
into the F: chain of
any of your )D)
tracks, or directly into
any )D) item. any
of these @the ): seriesD
have been written and
developed by Philip
Consadine. >ow is a
good time to take a
look at them.
The basic steps
involved in inserting
and using Track F: are
covered in the section
Track F: =asics. )f you
are unfamiliar with
these steps, you
should review that section before proceeding.
)f you display the Add F7 window and type midi into the filter list bo+ @as shown hereD, you will see a list of
those )D) F: that are currently available. =elow are listed some of the TC )D) F: supplied with '($P('.
F7 <a'e
8o''ens
2/6/:88Rider $ NFA Controlled CC generator.
2/6/:6up-icaeFi-er =locks duplicate notes.
2/6/:Hey2ap $ )D) key mapping utility.
2/6/:Hey5nap This is a good cheat for bad pianists.
2/6/:Rouer 'outes events from one channel to another.
2/6/:+oo- and 2/6/ +oo- // These do interesting and fun things to )D) note events.
'idi:ranspose Transposes a note or a range of note.
2/6/:Varian $ pattern based, musically aware, randomification monster.
2/6/:Ve-ocifier // This is a pattern based velocity modifier.
'idi:ve-ociyconro- ,sed to vary and control velocity on a )D) track.
2/6/:)obu-aor $ NFA Controlled automatic pitch wobulator.
seIuencer:baby $n awesome pattern seGuencer @see later in this chapterD.
5yn#esis$'idi:dru'seI ,se this drum seGuencer with your favourite patch set.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!0R
Up and Running: A REAPER User Guide v 4.72
These plug-ins can be made even more powerful by the use of automation envelopes, which can be applied to
any of their parameters. Low to create, manage and apply automation envelopes will be covered in Chapter %O.
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$inde3.p#p$1esusonic:Effecs:6ocu'enaionZ2/6/
"2.@7 2/6/ 8onro--ed Pic# 5#if %i# ReaVoice
The ReaVoice plug-in @supplied with '($P('D 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-inHs capabilities for yourself.
The procedure for using 'eaPoice is
as follows1
'ecord the Pocal Track.
)nsert a new track immediately
below the Pocal Track.
Create a send from the Pocal
Track to the new track. )nitially
at least, this should be Pre F:.
)nsert 'eaPoice into the F:
<indow of the new track.
$rm this track for recording.
Celect 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 8r- R to record. Ctop
recording when finished.
)f you do not have a )D) keyboard, you can either use '($P('Hs Pirtual 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.
E3a'p-e
)n this e+ample, youHll have some fun and e+plore how 'eaPoice works at the same time.
%. Apen the file A-- +#roug# +#e <ig#.rpp and save it as A-- +#roug# +#e <ig# REAV(/8E.rpp.
!. ute all tracks e+cept the Po+ track.
0. ove the Po+ track to the top, select it and press 8r- + to insert a new track. Jour Po+ track is now track
% and the new track is track !.
&. >ame the new track Vo3 2/6/.
Q. Display the /( window for the Vo3 2/6/ track and add a new Pre F7 Receive on Audio "$2 from the
Po+ track.
O. )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 Vo3 2/6/ track, insert an empty )D) item from about the %0 second mark to about the Q"
second mark. This should coincide with the first vocal passage on the Po+ track.
5. Double click on this to open it in the )D) (ditor.
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R. Create a pattern of notes similar to that shown below. Jou donHt 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. Jou 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. Lere are some more
possibilities, ?ust for fun and to give you some ideas.
%%. <ithin the )D) (ditor window, press 8r- A to select all events.
%!. Press 8r- F2 to display the <oe Properies dialog bo+.
%0. )n the <oe bo+, type J2 @as shownD then click on (H. This raises
the entire selection by two semitones.
%&. (+periment with other settings as you wish.
%Q. Cave the file when finished.
%O. >ow e+periment with ad?usting some of the 'eaPoice settings.
"2.@B 2/6/ Preferences 5eings
To specify your )D) preferences, choose the (pions> Preferences command @8r- PD and then select the
2edia> 2/6/ page. Jou9ll find these shown in Chapter %R, but for now the following are worth noting.
Jou can specify whether by default new )D) items are created as '($P(' media items @the defaultD
or .)D files.
Jou can specify how your edits to
imported .)D files are to be
interpreted F 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.
Jou can set the default behavior for imported multichannel )D) files F as multichannel on a single track,
as single-channel items on multiple tracks, or always prompt to ask.
There is also a page of )D) (ditor (diting =ehavior preferences @see Chapter %RD. )n particular, this lets you
determine '($P('9s 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 /0" go to ,U,U.co'
!&%
Up and Running: A REAPER User Guide v 4.72
)n addition, the Ediing 4e#avior, 2ouse 2odifier
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 @Chift, Ctrl, $lt, etc.D are
used with your mouse. ouse modifier customi;ation is
covered in Chapter %0. )n addition, some e+amples of
this were discussed in an earlier part of this chapter.
"2.@C Rea8onro-2/6/
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 trackHs F: chain, or by
right-clicking over the track name or number and
choosing 5#o% Rea8onro-2/6/ for 5e-eced
+rac&s from the menu.
$n e+ample of this plug-in in use is shown here.
Jou 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 bank2program 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) include1
,oad Fi-e1 Jou can load a '($P(' .reabank file or
Cakewalk .ins file of instrument definitions and then
select a preferred bank2program combination.
8onro- 8#ange1 ,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-in9s enabled CC sliders. $utomation will be e+plained in Chapters %O and %#.
Jou can also assign track controls to the TCP and2or CP to manage its various parameters. This is e+plained in
Chapter %%.
"2.4! 15: /7$2/6/:Rouer
This plug-in can be inserted from a
track9s F: chain. )t is used to redirect
)D) data from one channel to
another.
Jou can choose whether to send
notes, non-notes, or both.
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"2.4" +#e 5ca-e Finder
'($P('9s main $rrange Piew includes a feature that )D) users may
find useful F the Ccale Finder. )t can be used to identify those scales
which contain any given set of notes.
The Ccale Finder is opened using the command Vie% then 5ca-e
finder. >otes can be typed from the computer keyboard or entered
using a )D) device @including the Pirtual )D) BeyboardD.
The file sample reascale @provided and installed with '($P('D can be
used with the scale finder, or you can click on the button at the bottom
of this window and use the Noad command to import a file of your own
choosing.
Jou also have the option to use the notes that are currently selected in
the )D) (ditor.
"2.42 )or&ing %i# Piano Ro-- 5ynced o Pro9ec Arrange Vie%
Lere 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 done1
%. 'ecorded a percussion
instrument as a wave file
and, using stretch markers,
dynamic splitting, or any
other techniGue, 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.
0. ,sed the )D) editor
command Vie%> Piano ro--
i'ebase> Pro9ec sync.
&. 'ight-clicked on title bar and
chosen 6oc& )indo%.
Q. Clicked on the 0 in lower left
corner of docker and deselected @i.e. untickedD the option Aac# doc&er o 'ain %indo%.
O. Clicked on the 0 in lower left corner of docker and chosen 5e opaciy> 7A\.
<e can now move the )D) editor window and place it over the previously recorded track1 this helps us visually
in using the )D) editor to add the notes for our ne+t percussion instrument.
"2.4@ 5eIuencer 2egababy
CeGuencer =aby is a pattern seGuencer 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 seGuencing, together with a
simple e+ample of how one can be used. =eyond this, don9t hesitate to e+plore and e+periment for yourself*
<e9ll start by working thru a step by step e+ample, then go on to e+amine CeGuencer egababy in more detail.
E3a'p-e
%. Create a new file, and insert a single track.
!. Apen the track9s F: chain and add an instance of 15: 2/6/seIuencer:'egababy.
0. Jou need a synthesi;er to use with CeGuencer egababy. Jou could use a synthesi;er of your choice, but
for this e+ample insert an instance of Rea5yn#. For now, leave its settings at their defaults, e+cept @as
a precautionD Polume. Cet this to about -%Q d=. )f this later turns out to be too low, you can raise it.
&. $lso as a precaution, insert the 15: Ui-iy$-i'ier and set 'a3 vo- to -0." d=.
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!&0
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Q. Celect the CeGuencer =aby plugin. Come of its main controls are shown below.
O. Click and drag in a few
places @e+ample shown
rightD to enter a note
pattern.
#. Click P-ay on '($P('9s
transport bar. This pattern
will play over and over
again.
5. Ctop playback. Change the
5eps per bea value to 5
and play again. >otice the
music plays faster.
R. Cet this to !1 notice playback
becomes slower. Cet this
back to &.
%". Change 5eIuence -eng#
to !&. The seGuence
becomes longer. Draw some
more notes.
%%. Click on the number " above
the pattern grid @but below
the parameter controlsD. $
new screen is shown1 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.
%0. Play the music. The two patterns @" and %D are now chained. Jou can chain up to %O patterns.
%&. )f you wish, save the file. Jou can also record the synth9s output as an audio media item. To do this, arm
the track for recording, choose Record oupu from the record arm conte+t menu, then press 8r- R.
<oe: The four lanes below the pattern grid area can be used to set
modulation, volume, pan and2or e+pression values for individual notes or any
seGuence of notes. Click2sweep to create an envelope1 right-click on any
node to delete it, right-click2sweep to delete entire envelope. Chown here is
a pan e+ample.
5u''ary E3a'p-es of 5eIuencer 4aby Heyboard$2ouse 8onro- 8o'binaions
,ef c-ic&-drag Draw new notes2 erase e+isting notes.
Rig# c-ic&-drag $udition notes without drawing.
5#if 8r- A- ,ef c-ic&-drag 6Cweep7 draw notes freehand 2 erase e+isting notes.
8r- ,ef c-ic&-drag $d?ust note velocity.
5#if ,ef c-ic&-drag $d?ust note start offset..
8r- ,ef-c-ic& $ 8r- Rig#-c-ic& Lalve steps per beat, slow down 2 Double steps per beat, speed up.
,ef c-ic& paern nu'ber Celect pattern number.
8r- rig#-c-ic& paern nu'ber Clear pattern.
A- ,ef-c-ic& paern nu'ber Cet pattern chain end.
$ more complete list can be displayed by clicking on the plugin9s Edi button.
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!&&
"2 - 2anipu-aing and Ediing 2/6/ /e's
"2.44 Using 2/6/ 88 2essages o 8onro- F7 Preses
This is an advanced topic and as such not recommended for novice users.
=ank2Program Celect 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
6fussy7 so be prepared to take your time over this, especially at first, until you get used to it.
%. $fter recording the item, insert the reGuired F: into the track9s F: chain and @if it is not already
displayedD import the reGuired preset library. To do this, click on the J symbol to the right of the presets
drop down and choose /'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. Jou could delete any presets that you do not wish to
keep and2or 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.
0. For the purposes of this e+ample, we will be content to use ?ust the supplied
set of 'eaDelay presets shown on the right.
&. Jou now need to create a .reabank patch2bank 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. Jou can
use any te+t editor for this.
Q. Toel Campson has available @free of chargeD on his web site an e+cellent and comprehensive Q page PDF
manual e+plaining ?ust about every aspect of reabank files and how to create them. Cummary
instructions follow below, but ) would strongly recommend that you download and study +#e Ar of
Reaban&s from %%%.d9e'berecords.co'$reaper.#'-
O. $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 5.
#. The bank line is the first line of the file. )t sets the most
significant byte @C=D and least significant byte @NC=D of the
=ank Celect number, then the bank name. Jou can set both
numbers at ;ero.
5. (ach subseGuent line consists for each preset of its patch
number @starting at ;eroD and its name, which is shown here
the same as the name displayed in the F: presets drop down.
Lowever, you may use different names if you wish, as the
selection process is based on the patch number.
R. Cave 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 eGuivalent
@depending on whether you are using <indows or AC2:, and which versionD F but that9s up to you.
%". Ctart '($P(' and open the appropriate track9s F: chain. Celect the F: and from the preset J menu
select ,in& o 2/6/ progra' c#ange and select a channel @e.g. Channel %OD. This will make the
controlling )D) messages distinct from any others.
%%. From the track9s conte+t menu, set Enab-e rac& free ie' posiioning 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.
%!. Celect 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 /nser menu choose <e%
2/6/ ie' to create an empty )D) item alongside @parallel toD the e+isting media item. The result of
this is shown below1
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Up and Running: A REAPER User Guide v 4.72
%0. Apen the empty )D) item in the )D) (ditor, and make sure that the 4an&$Progra' 5e-ec lane is
displayed.
%&. $t the point where you want to make your first automated
preset change, double-click in the =ank2Program Celect CC
lane. This will display the =ank2Program Celect dialog bo+.
%Q. Click on ,oad Fi-e. >avigate to and select the file that you
saved at step R. and click on (pen.
%O. The preset bank will now be loaded. Display the Program
drop down list and select the reGuired preset @see rightD. =e
sure to select the same channel as you specified at step %".
Click on (H.
%#. 'epeat step %O. as many times as you wish to create as
many automated preset changes as you reGuire.
%5. Jou should now be able to see your program changes
displayed in the )D) (ditor CC lane @see belowD.
%R. Play the song. Jour 'eaDelay presets will now automatically change according to your instructions*
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"@ - 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus and +oo-bars
"@ 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus and +oo-bars
"@." /nroducion
Customi;ation is the key to unlocking '($P('9s 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('9s mouse modifiers
and keyboard shortcuts. That9s what this chapter is about.
=y now you should already have come across some of '($P('9s options and preferences settings and it9s Guite
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 following1
Acions. '($P(' makes e+tensive use of keyboard shortcuts. )n addition, it has a library of hundreds of
actions that you won9t find on any of its menus, actions which can help you with any number of tasks.
oreover, you can string whole seGuences of these actions together to make your own custom
commands which can then be triggered off by a single keystroke.
2ouse 2odifiers. '($P(' uses the mouse for plenty of activities, some of which you have already
encountered @like moving and copying media items and making time and loop selectionsD, some of which
you have not yet encountered @like editing automation envelopesD. Come 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.
2enus. ost '($P(' menus can be edited to suit your own reGuirements. Jou can move to the top the
commands most important to you. Jou can hide the ones you never use. Jou can even add your own
custom actions and commands to these menus*
+oo-bars. '($P('9s 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 toolbars3
These are the topics that will be covered in this chapter. Cpend as much time as you need to get to understand
it. )t will pay you dividends.
"@.2 REAPER Acions Essenia-s
=efore we look inside '($P('9s $ction Nist (ditor to e+plore the world of shortcut keys, custom actions, control
surface assignments and more, it9s worth taking stock of a couple of useful resources that are available to you.
Choose the *+2, ,iss Eauo-
generaedF command from
'($P('9s *e-p menu and you
will have three choices.
2ouse 'odifier &eys and
acion s#orcus opens your
default web browser with a list
of all current keyboard shortcut
and mouse modifiers. This list is
searchable and may be printed.
Acions opens your default web browser with a list of all of '($P('9s many available actions, any of which can
be assigned to a keyboard shortcut and2or combined with other actions into your own custom actions. This list
is also searchable and may be printed.
Rea5crip docu'enaion. Tust what 'eaCcript 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 Nist (ditor itself, and that this
editor is searchable.
The editor is opened by choosing the Acions command from '($P('9s
main menu, then 5#o% acion -is..., or simply by pressing the X Bey.
Net9s take a look inside I
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Up and Running: A REAPER User Guide v 4.72
"@.@ +#e Acion ,is Edior Environ'en
Jou9ll get more out of '($P('9s $ction Nist (ditor @shown belowD if before trying to use it you take a little time
getting to know its interface, its structure and how you can navigate it.
/e' 8o''ens
Fi-er Jou 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 height1
>otice that where an e+isting keyboard shortcut e+ists it is shown to the left of the
action. For e+ample, the 0 Bey is used to toggle the action Vie%: E3pand se-eced
rac& #eig#> 'ini'iDe o#ers.
Cimilarly, you can see that 8r- 5#if 2ouse%#ee- can be used to ad?ust the height
of any track selection.
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"@ - 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus and +oo-bars
/e' 8o''ens
Fi-er Econ.F
)n this second e+ample, a filter is used to list all actions relating to new tracks. The
only one of these that currently has an assignment is +rac&: /nser ne% rac&,
This is assigned by default to 8r- +.
8-ear The 8-ear button clears any current filter and restores all actions to the list.
Find s#orcu... The Find s#orcu... 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. <e9ll come to )D) controllers later in this chapter. )f the key that you type
is already in use, then its assignment will be displayed @see belowD.
)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 Chift with the letter. For e+ample, in this case, a
search for 5#if 5 would have produced /e': 5p-i ie' a i'e se-ecion.
)n this second e+ample, we have searched for 8r- A1
)f no shortcut e+ists for the key or key combination for which you are searching, then
a message 5#orcu no found will be displayed.
8o-u'n #eaders$
5or &eys
The 5ae 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. Jou can click
on the 5#orcu column header to sort instead on current keyboard assignments.
This causes them to be sorted instead by keyboard assignments, with special
characters and numbers at the top of the list @see belowD.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
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/e' 8o''ens
8o-u'n #eaders$
5or &eys Econ.F
This can be especially helpful if you wish to familiarise yourself with '($P('9s 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.
5ecions The $ction Nist is divided into a number of sections,
shown here. The ain section is the one that is
used most of the time @for e+ample, when you are
working in $rrange viewD. 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 Nist from within one of these
environments, the correct $ction Nist section will
automatically be selected for you.
Atherwise, you can select any section from the drop down list and that section9s
actions will also be selected and displayed in the action list.
Run $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. Cimply select
the action, then click on the
Run button.
)f the option 5#o% recen
acions is enabled on '($P('9s main menu @aboveD then any actions that you
e+ecute in this way during your current work session will be added to '($P('9s
$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.
Run$8-ose This button is similar to the Run button, the main difference being that after running
the selected action it closes the $ctions window.
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"@ - 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus and +oo-bars
/e' 8o''ens
8-ose This closes the $ctions window.
Re'e'ber -as
fi-er
)f this option is enabled @from the $ction window
right-click conte+t menuD 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.
Genera- The $ction window e+hibits the basic characteristics of other '($P(' windows. For
e+ample, you can use the pin symbol @top rightD to keep it on top, or you can dock it
in the docker @from the right-click conte+t menuD.
Jou9ll have noticed several other features inside this window, including a number of additional buttons, some of
which are currently dimmed. <e9ll get to these in due course.
"@.4 8reaing a <e% Heyboard 5#orcu
)n this ne+t e+ample, we
will create a new shortcut.
NetHs take the e+ample of
the docker. Filter the
action list on 6dock7 and
you will see that Vie%:
Aac#$unaac#
6oc&er o$fro' 'ain
%indo% does not yet have any shortcut key assigned to it. Nikewise, if you use the Find s#orcu = button to
search for lower case 6, 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 @rightD. Trying to assign lower case
U to an action would produce this e+act
message. Jou would then have the option as to
whether to change the assignment for this key or leave it as it is.
E3a'p-e
%. From the Acions menu, open the Acions window @5#o% acion -is =D
!. NetHs see if we can use 6 for docking. Click in the Find s#orcu = window. Type lower case 6 and
observe the response. Jou should see a message
5#orcu no found. <e therefore know that this
keystroke combination is available. Click on (H to
close this message bo+.
0. )n the Fi-er bo+ type doc& then select from the list of
actions Vie%: Aac#$unaac# 6oc&er o$fro'
'ain %indo%.
&. Click on the Add button to open the Heyboard or
2/6/ /npu bo+. <hen it appears, untick the option
Auo'aica--y c-ose %indo% on &ey$2/6/ inpu.
This makes it less likely that you will assign a wrong
key by mistake.
Q. Press lower case 6 F you will see 6 displayed in the Heyboard or 2/6/ /npu bo+ @see aboveD.
O. Click on (H. Jou can see that this keyboard shortcut has now been assigned.
#. Close the Acions window.
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Up and Running: A REAPER User Guide v 4.72
5. Jou can now use the shortcut key lower case D to attach2detach the docker to2from the main window.
"@.A Re'oving an E3ising 5#orcu
'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%: Aac#$unaac# 6oc&er o$fro' 'ain %indo%. Follow this seGuence1
%. )n the $ction Nist,
find and select the
action from which
you wish to remove
the shortcut. The
current shortcut@sD
will be displayed
?ust below the list.
@see rightD.
!. Click on the
shortcut shown in the window @in this e+ample, the letter DD.
0. Click on the 6e-ee button. The shortcut will be deleted.
"@.? 8#anging an E3ising Hey Assign'en
The procedure for changing an e+isting key assignment combines the two techniGues of creating a new shortcut
and removing an e+isting one. Net9s take as an e+ample assigning the Up and 6o%n arrow keys to the actions
+rac&: Go o previous rac& and +rac&: Go o ne3 rac&, instead of 8r- A- Up and 8r- A- 6o%n @the
default assignmentsD.
%. Find and select the
action +rac&: Go
o previous
rac&.
!. )n the displayed
list of shortcuts,
select 8r- A- Up
@see rightD.
0. Click on 6e-ee to
delete this
shortcut.
&. Click on Add... to
display the Heyboard or 2/6/ /npu window.
Q. Press the Up arrow @see rightD, then click on (H.
O. <hen asked if you wish to override the current
assignment to Piew1 Soom in hori;ontal, choose (H.
Jou will still be able to use the Plus key to ;oom in
hori;ontal.
#. ,se the same techniGues as at steps as at steps %. to O.
to change the shortcut key for +rac&: Go o ne3
rac& from 8r- A- 6o%n to ?ust 6o%n.
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"@.7 E3a'p-es of Possib-e 5i'p-e Heysro&e Assign'ens
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 freGuently repeated activities that might otherwise involve
a lot of time fiddling around with the mouse. Beyboard Chortcuts 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.
Lere 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& Possib-e 5#orcu Hey
+rac&: +ogg-e bypass F7 for curren-y se-eced rac&EsF 4
+rac&: +ogg-e bypass F7 for a-- rac&s 8r- 4
+rac&: Vie% F7 c#ain for curren rac& 8r- F
+rac&: Vie% /( for curren rac& /
+rac&: Vie% enve-opes for curren rac& H
"@.B Heyboard 5#orcus 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. Lere
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.
Jou will have noticed that when you stop recording, '($P(' by default prompts you to confirm whether you
want to save or delete the new media items. The ain @alt recordingD section of the $ction Nist gives you the
opportunity to bypass this prompt by assigning keyboard shortcuts for those options that you use most often F
5ave A-- and 6e-ee A--. $s with the earlier e+amples, it is only an e+ample. Jou9ll probably find the e+ercise
worth completing even if you don9t want to keep these keyboard shortcuts assignments.
%. )n the $ctions Nist (ditor, select the section 2ain Ea- recordingF F see
right.
!. )n the filter bo+ type sop save. Jou should see the action +ranspor 5op
Esave a-- recorded 'ediaF
0. Celect this action.
&. Click on Add = and type lower case 5 then click on (H.
Q. Clear the filter bo+, then type in it1 sop de-
O. Celect the action +ranspor: 5op E6E,E+E a-- recorded 'ediaF.
#. Click on the Add button then type lower case 6 to assign this shortcut to the letter D. Click on (H.
5. Clear the filter bo+ again.
R. Close the Acions window.
%". ake sure that the option
to Use a-ernae
&eyboard secion %#en
recording is enabled.
JouHll find this under
(pions> Preferences>
Genera-> Heyboard.
%%. Click on (H to close the Preferences window.
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!Q0
Up and Running: A REAPER User Guide v 4.72
From now on whenever you are recording, you will have the option of using the shortcut keys 5 or 6 to stop
recording, automatically saving or deleting the newly recorded media items. Jou can still use Ener if you wish
to be prompted. 'emember too that when you are not recording, the keys 5 and 6 will revert to their normal
functions. For e+ample, 5 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. <e9ll
look at this when we look at ,sing a Control Device with '($P('.
"@.C Heyboard 5#orcus for #e 2/6/ Edior
(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 Nist
and you should be well rewarded. >otice also that there are separate sections for
the )D) (vent Nist (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.
Lowever, below are listed some e+amples of some actions that you might find useful when working in the )D)
(ditor. Cpecial thanks go to Cusan . for compiling these lists.
+o do #is =. Use an acion suc# as ...
2anaging <oes
)nsert notes of a specific length )nsert note I. [range from %2%!5 to %2! to whole note\
ake notes legato Cet note ends to start of ne+t note
Transpose notes (dit1 ove notes up2down one octave2semitone
$d?ust note lengths slightly (dit1 Nengthen2Chorten notes one grid unit2pi+el
$d?ust velocities (dit1 >ote velocity W2-"%, %"
Display only notes matching specified criteria Filter1 Toggle filter on2off
8#anne-s 2anage'en
Cpecify a channel for new notes and events $ction1 Cet channel for new events to "% ...% O
Chow all or specified channels Channel1 Chow all2only2toggle channels "% I %O
Change the channel for selected notes (dit1 Cet notes to channel "% ... %O
8ursor$Grid 2anage'en
$dvance the cursor by a note value Cursor1 advance I [range from %2%!5 ... to whole note\
ove the cursor by specific amount (dit1 ove edit cursor right2left by grid2measure2pi+el
Change the grid divisions Grid: Multiply grid size by... or Grid: Set division to...
"@."! Heyboard 5#orcus for #e 2edia E3p-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 there1
4ro%ser acions1 these are used to navigate your folders. For e+ample, by
default 4ac&space will take you to the parent folder @relative to the current
folderD.
Previe% acions1 actions e+ist for a host of tasks, including play, pause, stop, toggle repeat on2off, rewind a
little, fast forward a little, stop preview when inserting media, and many more.
+e'po 'ac# acions. These include tempo match off, tempo match on, toggle on2off, and tempo match2!.
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"@ - 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus and +oo-bars
"@."" Assigning Acions o #e 2ouse%#ee-
Ane 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. Lere9s a
reminder of the default mousewheel assignments1
2ouse%#ee- a-one Piew1 Soom hori;ontally
with 8r- Piew1 Soom vertically
with A- Piew1 Ccroll hori;ontally
with 8r-JA- Piew1 Ccroll vertically
with 8r-J5#if Piew1 $d?ust selected track heights
$gain, the method for changing these is essentially the same as that which you have already used.
Cuppose, for e+ample, that you wish to use the mousewheel by itself to scroll hori;ontally.
%. )n the action list, find the action Vie%: 5cro--
#oriDona--y.
!. )n the shortcuts list, select A- J 2ouse%#ee- and
click on de-ee.
0. Click on the Add button, then scroll the mousewheel.
The te+t ousewheel will be displayed, as shown on
the right.
&. Click on (H.
Q. )f you wished, you could now use the same method
to assign A- J 2ouse%#ee- to the action Vie%:
Qoo' *oriDona--y.
"@."2 E3poring and /'poring Heyboard 5#orcus
The /'por$e3por 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 .'eaperBeyap files in the UBeyaps 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 Guite self-e+planatory1
/'por = )mports keyboard assignments from an e+isting .'eaperBeyap file.
E3por a-- = (+ports all your current keyboard shortcut assignments to a .'eaperBeyap file.
E3por se-eced ie's = (+ports only those items currently selected to a .'eaperBeyap file.
Resore a-- s#orcu binding o facory defau-s 'emoves your custom keyboard assignments and restores
all '($P(' defaults.
.'eaperBeyap files can also be included when e+porting2importing configuration settings @see Chapter %RD.
"@."@ 8reaing 8uso' Acion 2acros
Jou can assign an entire seGuence 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. Jou
might wonder, for e+ample, why would anybody need an action for /e': 5e-ec ie' under 'ouse cursor
when it is surely easier ?ust to click on the item.
Aften 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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2anaging 8uso' Acions E2acrosF O 5u''ary +ab-e
/n order o do #is ... .ou do #is ...
8reae a ne% 'acro Click on <e%... button. Type a name for your macro.
Add acions o a 'acro Drag and drop from action list, or double-click.
8#ange order of acions Drag and drop up or down the list.
Re'ove acion fro' 'acro Celect action in macro action list, click on Re'ove.
Add 'acro o 'ain Acions 'enu (nable the option 5#o% in acions 'enu.
8onso-idae 'acro ino a sing-e
undo poin
(nable the option 8onso-idae undo poins.
5ave 'acro Click on (H.
Assign s#orcu &ey o a 'acro Celect the macro in the $ction Nist. Click on Add.
Edi an e3ising 'acro Celect the macro in the $ction Nist. Click on Edi.
8opy an e3ising 'acro Celect the macro in the $ction Nist. Click on 8opy.
Run an e3ising 'acro ,se shortcut key @if assignedD, or select the macro from '($P('9s
$ctions menu @if this option is enabledD, or select macro in $ction
Nist and click on Run option.
6e-ee an e3ising 'acro Celect the macro in the $ction Nist. Click on 6e-ee.
Net9s take a simple e+ample. >ormally, to split an item you would need to select the item, position the edit
cursor at the reGuired position, and then press C to split it. =y creating a custom action, we can combine this
seGuence of activities into a single keystroke.
E3a'p-e
%. )n the $ctions Nist
(ditor, click on the
<e% button. This
will cause the
8reae 8uso'
Acion window to
open @see rightD.
Type a name, such
as 5p-i under
'ouse.
!. )n the list of actions
shown in the left
panel. Find the
action Vie%: 2ove
edi cursor o
'ouse cursor.
Double-click on this
action.
0. )n the list of actions
shown in the left
panel. Find the
action /e':5e-ec ie' under 'ouse cursor. Double-click on this action.
&. )n the list of actions shown in the left panel. Find the action /e':5p-i ie's a edi or p-ay cursor.
Double-click on this action.
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"@ - 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus and +oo-bars
Q. Click on the option 8onso-idae undo poins to enable this option.
O. Click on (H. Jou will be returned to the main $ction Nist with your new custom action selected.
#. Click on Add and type lower case 8 to assign this keystroke to your macro. Click (H.
5. 8-ose the $ctions Nist (ditor.
R. Lover your mouse over any media item and press lower case 8. The item will be split at that point. Ane of
the split items will still be selected. )f you don9t like this, you can edit the macro.
%". Apen the $ctions Nist (ditor, find your macro 5p-i under 'ouse and select it. Click on Edi. $dd to the
end of this macro the action /e': Unse-ec a-- ie'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 seGuences of actions
and commands that you use together a lot I think actions, think macros* Jou9ll also find plenty of ideas and
inspiration on +#e Usefu- 2acro +#read on '($P('9s P]A> +ips> +ric&s and *o% +o forum F at
forum.cockos.com.
"@."4 2/6/ Edior 8uso' 2acros
)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 doesn9t have to be lengthy and complicated to be useful
+#is cuso' acion .... ... does #is
>avigate1 select ne+t note right with same note
value
>avigate1 move edit cursor to start of selection
This will find the ne+t note with the same value as the
current one, select it, and move the edit cursor there.
>avigate1 select previous note right with same note
value
>avigate1 move edit cursor to start of selection
This will find the previous note with the same value as
the current one, select it, and move the edit cursor
there.
(dit1 Celect all
'emove selected duplicate events
(dit1 ,nselect all
This macro removes all duplicate events from the
current item.
.rid1 Cet grid division to %
(dit1 )nsert note at edit cursor
(dit1 ,nselect all
Creates and inserts a semibreve @or whole noteD.
The note duration sets the grid. Thus, you could have
eGuivalent actions for any other fraction of a note or
multiple of a note available in the actions list.
"@."A /'poring 5crips
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 'eaCcript enabled on the Plug-
ins, 'eaCcript page of your Preferences. Atherwise, these $ction Nist controls may be dimmed @see aboveD.
The topic of writing scripts is outside the scope of this ,ser .uide, although there is a brief introduction to
'eaCcript in Chapter !!. )f you are interested in learning more you should visit the '($P(' web site, and in
particular1 www.cockos.com2reaper2sdk2reascript2reascript.php
Rea5crip 6ocu'enaion can also be opened from '($P('9s Lelp, LTN Nists command.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!Q#
Up and Running: A REAPER User Guide v 4.72
"@."? Using a 8onro- 6evice %i# REAPER
$ control surface such as a =ehringer =C'!""" or a >ovation >octurn can be used to control some of '($P('9s
actions. Jou 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 starting2stopping
recording, and possibly to physically map '($P('Hs transport bar for functions such as Play, Ctop, Pause,
'ewind, etc. Af 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.
Jou 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. Abviously 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 categories1
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
manufacturer9s instructions. Jou should then be able to select it on the 8onro- 5urfaces page of '($P('9s
Aptions Preferences settings. Af course, you should consult the manufacturer9s documentation and2or web site
for further information. Jou may also be able to find further information on one of '($P('9s on-line forums.
Choose the (pions.
Preferences command,
then select 8onro-
5urfaces and click on
Add to see a list of
available devices @see
rightD.
>otice that the list
includes an entry for
devices which conform to
the (58 E(pen 5ound
8onro-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 NogicTouch or NogicPad, or to tell '($P(' to write a sample @defaultD configuration file.
This file will contain the default mappings and various appropriate comments. Jou should also supply a port
number @for the transfer of messagesD 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 '($P(' handles ACC and
about '($P('9s Default.'eaperACC file.
For other @non ACCD control devices, even if they are not shown on this list, you might still be able to install
and use them if they are capable of emulating one of the devices that is listed @e.g. L,) or ackie emulationD.
Jou should check the manufacturer9s documentation and web sites.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
!Q5
"@ - 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus and +oo-bars
)n every case, make sure that you choose the options that are correct for your device from the various 8onro-
5urface 5eings options. Chown 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.
Jou might wish to install several devices in
this way. For e+ample, you might wish to use
both a Frontier $lphaTrack and a Frontier
Tran;port. This is perfectly possible, so long
as each device is installed correctly.
Jou will need to consult the product
documentation to ascertain how then your
control surface@sD can be used with '($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('. $n e+ample of such a product is the
=ehringer =C'!""". Ance it has been
physically set up and installed on your
computer, it will appear on the list of
'($P('9s )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 U54 Audio 6evice.
)nstall it as a )D) Device,
most likely )nput Anly and
in most cases for control
messages only. $n e+ample
of this is shown here. Jou
can double-click on the
device name to open the
8onfigure 2/6/ /npu
dialog bo+. <hat you do
ne+t will depend on the
device. Jou might also use
this method to use your
)D) keyboard also as a )D) controller @depending on whether the keyboard supports this featureD.
Ance such a device is installed, you can then assign any action listed as supporting midi CC control to one of the
knobs, faders, buttons or rotaries on your control device.
The procedure is similar to
assigning an action to a key
on your PC keyboard. Apen
the Acions Nist from the
'($P(' menu. Celect the
action, click on Add then
instead of pressing a key
on the keyboard, tweak the
control surface control and
click on (H.
$n e+ample is shown on
the right - in this case we
are assigning a rotary
control to be used to ad?ust
the volume of track %.
For further information,
including about the various
settings, you should consult
the documentation supplied with your device, the manufacturer9s web site, or one of the '($P(' forums.
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Up and Running: A REAPER User Guide v 4.72
"@."7 2ea Acions
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 reGuired
without you having to keep pressing the same shortcut
keys. This techniGue 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 don9t
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 commands1
$ction1 prompt to continue, and
$ction1 prompt to go to action loop start
E3a'p-e
Take a look at the e+ample on the right. )f you create
this custom action macro and assign it a keyboard
shortcut @such as 8r- 5#if HD, then you can use it in
this way.
Celect any track which is made up of multiple items and
position the play cursor at the start of the timeline.
Jou can then activate this macro. The cursor will move
to the start of the first item in the selected track and
drop a marker at that point. Jou will then be asked if
you wish to continue @see illustration belowD.
)f you press Ener or click on .es, the play cursor will move to the start of the ne+t item, insert a marker there,
and ask the Guestion again. )f you click on <o, then the e+ecution of the custom action macro will stop.
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"@ - 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus and +oo-bars
"@."B 2ouse 2odifiers
<e9ve come across the mouse modifiers page of '($P('9s
preferences settings several times already. Jou can use this page
to change any of '($P('9s default mouse modifier controls and
also to add more of your own. Come pointers to keep in mind1
2odifier &eys. <indows users can use any of the
following modifier keys, in any combination, for any
mousewheel action1 5#if, 8r-, A-, )in
ac users may use any of these modifier keys, in any
combination1 5#if, 8o''and, (pion, 8onro-
8one3s. The Conte+ts drop down list on the ouse
odifiers page of your preferences window lists the
conte+ts in which you could use your mouse and for which
you could need modifiers @see rightD. <hen you select an
item from this list, current mouse assignments for that
conte+t are displayed.
For most conte+ts you will find a number of variations,
depending upon the e+act kind of mouse action being
undertaken. For e+ample, separate mouse modifiers can be
applied to media items depending on whether the mouse action being applied is a simple left click @which by
default selects the itemD, left click and drag @which by default moves the itemD or a double-click @which by
default opens )D) items in the )D) editor, or displays media item properties for audio itemsD. Come conte+ts
@e.g. $rrange viewD also make middle button mouse actions available.
Jou aren9t going to learn all of these at once, and some of them you may never need. For e+ample, if you never
do any work with )D) then the various )D) conte+ts are unlikely to be important to you. Take the time to
identify those which you are likely to use the most and think about how you can improve them. The procedure
for customi;ing '($P('9s mouse modifiers is as follows1
%. Display the 2ouse 2odifiers page
of '($P('9s 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 2edia ie'
edge -ef drag.
0. )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. Jou
now have a number of choices1
Celect any item from that list, or
Celect >o $ction to disable that modifier, or
Celect the item marked with a bullet to restore '($P('9s default action for that modifier, or
For some items only @including double-click itemsD, use Acion ,is = to open the $ction Nist editor
so that you can assign one of '($P('9s actions, or one of your own custom actions, to that conte+t.
&. Click on App-y to apply your changes.
Q. '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 /'por$E3por button then Resore 'odifiers o facory defau-s in
#is cone3. This will restore '($P('9s original modifiers to this conte+t.
The e+amples that follow have been selected to help you to understand how '($P('9s mouse modifiers work
and how you can benefit from using them. Don9t be concerned if not all of the actual e+amples themselves
mean a lot to you right now1 try to stay focused on the techniGue. Net9s suppose that there are certain editing
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Up and Running: A REAPER User Guide v 4.72
and other activities that you use a lot in '($P('. Net9s also suppose that these include the following1
Creating empty )D) items on tracks.
Clip editing media items.
$dding F: to media items.
Toggling mute status of media items.
Cetting and removing loop points.
That9s @intentionallyD a fairly mi+ed bag of activities. $ll of these are e+amples of activities that can be made
easier and2or faster and2or smarter by modifying '($P('9s mouse modifiers.
E3a'p-es
This e+ercise will step you thru the above e+amples in the same order as they are listed.
%. Choose the (pions, Preferences command, then select the page 2ouse 2odifiers.
!. Celect +rac& -ef drag from the conte+t
menu. '($P('9s default mouse
assignments for pencil drawing copies of
items will be shown. >otice that A- and
5#if A- are currently unassigned.
0. Double click on the word A- in the
odifier column. $ list of possible
suggested actions will be shown.
&. )n this list, click on 6ra% an e'py
2/6/ ie'. 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.
Q. Click on App-y to apply the action.
O. >ow select 2edia ie' edge drag from
the conte+t list. Net9s suppose that we
want to make 2ove ie' edge
ignoring snap the new default behavior
when clicking and dragging from the
media item edge.
#. Double click on 6efau- acion and
select 2ove ie' edge ignoring snap from the menu. >ow double click on the modifier 5#if and
select 2ove ie' edge from the menu.
5. Click on App-y. These two items have now been swapped over.
R. >ow select 2edia ie' doub-e-c-ic& from the conte+t drop down list. odifiers for this conte+t will now
be displayed. Cuppose that we want to create an action which can be used to open the item9s F: chain
window, and that we wish to assign 5#if 8r- for this.
%". Double-click on the te+t 5#ifJ8r- to display a menu. Click on Acion ,is = to open the $ction Nist
(ditor. )f you have worked thru the earlier e+amples in this chapter, this will be familiar* Find the action
5#o% F7 c#ain for ie' a&e and select it. Click on 5e-ec$8-ose to return to the ouse odifiers
window. Click on App-y. This action is now your media Chift Ctrl double-click action @see belowD.
%%. 'epeat this procedure to apply the
action /e' properies: +ogg-e
ie's 'ue to the modifier
5#ifJ)in. Click on App-y.
%!. Finally, we can add an action to the
Ru-er doub-e-c-ic& conte+t so that
the 5#if modifier will remove any
current loop points.
%0. Celect Ru-er doub-e-c-ic& from the
conte+t drop down list. Double click on
5#if in the modifier column and select Acion ,is... from the menu. Find the action ,oop Poins:
Re'ove -oop poins, select it then click on 5e-ec$8-ose and then App-y.
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"@ - 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus and +oo-bars
%&. Close the Preferences window.
)f you do not wish to keep these assignments, use the /'por$E3por button to restore factory defaults.
Re'e'ber0 <hen you are assigning actions to mouse modifier keys you are not limited to using '($P('9s
native actions. Provided that you have installed the C<C e+tensions you can use any of the C<C actions. Jou
can also use any custom actions that you have created yourself.
<oe1 <hen you select a mouse modifier conte+t, in some cases an option relevant to that specific conte+t will
be displayed ?ust below the list of behaviors. Nook out for these. For e+ample, for both the Track and edia
items conte+ts you can specify whether the item label area @above the media itemD should be regarded as part
of the media item or as empty space.
+ip for (5 7 Users:
>e+t to the )mport2(+port button you will find a 5%ap c'd$op button. This
can be used to swap over all 8'd button and all (p button assignments for
the currently selected mouse modifier conte+t,
"@."C 5aving and Resoring 2ouse 2odifier 5eings
ouse modifier settings can be saved to and restored @loadedD
from '($P(' mouse map files using the )mport2(+port button.
Cettings can be saved2restored for the current conte+t only, or for
all conte+ts @see rightD.
"@.2! 2/6/ Edior 2ouse 2odifiers
,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 2/6/ noe -ef c-ic&$drag conte+t @see rightD. )f you
use the )D) (ditor a lot then you should definitely take some time to investigate and to identify which of these
actions are most useful to you. For e+ample, you could reassign 5#if A- to be used when clicking on any note
to erase it.
'emember that all actions in '($P('9s $ction
Nist )D) (ditor and )D) (vent Nist (ditor
categories @including any custom actions of
your ownD are available to be assigned as a
mouse double-click modifier in most conte+ts
within the )D) (ditor. )D) (ditor mouse
modifier conte+ts include1
2/6/ noe -ef c-ic&$drag
2/6/ noe doub-e c-ic&
2/6/ noe edge -ef c-ic&$drag
2/6/ noe doub-e c-ic&
2/6/ 88 even -ef c-ic&$drag
2/6/ 88 -ane -ef drag
2/6/ 88 even doub-e-c-ic&
2/6/ 88 -ane doub-e-c-ic&
2/6/ source -oop end 'ar&er -ef drag
2/6/ ru-er -ef c-ic&
2/6/ ru-er -ef drag
2/6/ ru-er doub-e-c-ic&
2/6/ piano ro-- -ef c-ic&$drag, 2/6/
piano ro-- doub-e-c-ic&, and
2/6/ edior rig# drag.
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Up and Running: A REAPER User Guide v 4.72
"@.2" 8uso'iDing #e REAPER 2enus
Jou can customi;e '($P('9s main menu and many conte+t menus in a number of ways, including1
'emoving from view commands that you never use.
Changing the order in which commands are listed.
$dding your own custom actions to an e+isting menu.
To open and display
the 8uso' 2enu
interface, choose from
the main menu the
command (pions>
8uso'iDe
2enus$+oo-bars.
This causes the
Customi;e
menus2toolbar
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. An the menu itself,
the letter will appear underscored. Thus, in the e+ample shown above, when you display '($P('9s main file
menu, the letter < in <e% pro9ec... will appear underscored, and you can therefore type < to select this
command.
/n order o do #is ... = you need o do #is.
5e-ec a 'enu for cuso'iDaion Display the drop down list @top left of windowD and select the
reGuired menu.
8#ange #e na'e of a curren-y
se-eced 'ain 'enu co''and
Celect the command. Click on the Rei-e... button. Type the
new name and press Ener
Re'ove a co''and fro' #e
curren-y se-eced cuso' 'enu
Celect the command in the left hand column @click onceD.
'ight-click and choose Re'ove from the menu, or click on
the Re'ove button located below the customi;ed menu
pane.
8#ange #e posiion of a co''and on
#e cuso' 'enu
(ither = in the left column, drag and drop the command up
or down to its reGuired position.
Ar I in the left column select the command that you wish to
move. Press 8r- 7. Click at the position where you wish the
command to be placed. Press 8r- V.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
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"@ - 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus and +oo-bars
/n order o do #is ... = you need o do #is.
8opy a co''and fro' one 'ain -eve-
'enu o ano#er
Celect the first main menu from the menus drop down list.
Celect the reGuired command and press 8r- 8.
Celect the second main menu from the menus drop down list.
Click at the reGuired position in the customi;ed window @leftD
pane and press 8r- V.
Add a REAPER acion or a cuso'
acion o #e curren cuso' '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
Acion from the menu. Celect
your item from the list then
click on the 5e-ec button.
Rena'e a co''and on #e cuso'
'enu
)n the left column, select the command, click on Rena'e,
then type the new name and press Ener.
Add a separaor o #e curren cuso'
'enu
)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 5eparaor from the menu.
Add a -abe- o #e curren cuso'
'enu
)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.
Add a sub'enu o #e curren cuso'
'enu
)n the left column, click at the position you want the submenu
inserted. Click the Add button, then on 5ub'enu. Type a
name then press Ener.
5ave c#anges 'ade o #e curren
cuso' 'enu
Click on the 5ave button.
Resore #e one or a-- cuso' 'enus
o #e defau- seings
Click the Rese button, then choose either Rese 8urren
2enu or Rese A-- 2enus.
E3por #e curren cuso' 'enu or a--
'enus as a Reaper2enu5e
Click on E3por... , choose E3por A-- or E3por 8urren,
then type a name and click on 5ave.
Rep-ace #e curren cuso' 'enu or
a-- 'enus %i# a previous-y saved
Reaper 2enu 5e
Click on /'por... then select the reGuired menu set file,
then click on (pen. Jou can also drag and drop .'eaperenu
and .'eaperenuCet files into '($P(' from <indows
(+plorer.
/nc-ude REAPER;s defau- 'enus %i#
your cuso' 'enus
Tick the /nc-ude defau- 'enu as sub'enu option @top
right of windowD. This is recommended especially if you are
removing any default commands from the menu.
E3a'p-e
)n this e+ample you will learn how to add an action to a '($P(' menu as a new command, and how to remove
an unwanted command. Jou9ll also change the order of some commands. $s with many other e+ercises in this
,ser .uide your main focus should not be on the e+ample itself but more on the techniGue.
Cuppose that you do a lot of work with markers, and that you would like to renumber markers in timeline order
Guickly and easily without having to remember a keyboard shortcut. Jou could add the action to the 'uler
conte+t menu. <hile you9re about it, you can also remove the command /nser e'py space in se-ecion
@assuming for the sake of the e+ample that you think you do not need this commandD. Follow these instructions.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!OQ
Up and Running: A REAPER User Guide v 4.72
E3a'p-e
%. From '($P('9s (pions menu, open the 8uso'iDe 'enus$oo-bars window.
!. Display the drop down menu list and choose Ru-er$arrange cone3.
0. Click on any one of the commands in this menu F for e+ample 5e se-ecion o ie's.
&. Click on the Add... button, then choose Acion... This causes the $ctions Nist (ditor window to be
opened.
Q. )n the filter bo+ type1 'ar& renu' F this should find the
action 2ar&ers: Renu'ber a-- 'ar&ers in i'e-ine
order.
O. Celect this action then click on 5e-ec$c-ose. The
$ctions window will close and you will be returned to the
Customi;e menus2toolbars window. This action has now
been added to the menu and is selected @see rightD.
#. <ith the item still selected, click on Rena'e...
5. Jou will be prompted for a new name. Type1 Renu'ber
'ar&ers and press Ener.
R. To move this up the menu, drag and drop it above Qoo' se-ecion.
%". >ow select the item @lower down the listD /nser e'py space in se-ecion. Click on Re'ove to
remove this from the menu.
%%. ake sure you have enabled the option /nc-ude defau-
'enu as sub'enu.
%!. Click on 5ave then 8-ose.
%0. Create some markers in this pro?ect, out of timeline order.
%&. >ow right-click over the ruler2timeline @see rightD. Choose
Renu'ber 'ar&ers from the menu1 your markers will be
renumbered.
%Q. >otice at the bottom of this conte+t menu the item 6efau-
'enu: Ru-er$arrange cone3. This can be used to access the original conte+t menu.
%O. )f you wish to restore this menu to its original state, open the 8uso'iDe 'enus$oo-bars window
again and with the Ru-er$arrange cone3 still selected, click on Rese then Rese curren
'enu$oo-bar o defau-. Click on 5ave then 8-ose.
"@.22 8uso'iDing #e REAPER +oo-bars
Customi;ing '($P('9s main toolbars @including the )D) (ditor toolbarsD can make it easier to make '($P('
work for you to work the way that you would like it to. For e+ample, you can1
'emove any of the default icons2commands 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.
$ssign a custom action or macro of your own to a new or e+isting icon.
The procedure is similar to that used for menu
customi;ation. ake your changes to the e+isting default
toolbar layout thru the 8uso'iDe 'enus$oo-bars dialog
bo+. This can be displayed by right-clicking over the empty
area of the toolbar background, or by choosing 8uso'iDe
'enus$oo-bars from the (pions menu. <hen the
Customi;e menus2toolbars window is displayed, choose
2ain +oo-bar or one of the 2/6/ Vie% toolbars from the
drop down list in the top left corner. <e9ll get to F-oaing
oo-bars a little later in this chapter.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
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"@ - 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus 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, we9ll use
the action Vie%:
+ogg-e 'aser
rac& visib-e for
this.
/n order o do #is ... = you need o do #is.
8#ange #e na'e of a REAPER oo-bar Celect toolbar from drop down list. Click on Rei-e..., type
new name then click on (H.
Re'ove an ie' fro' #e oo-bar Click on either the item name in the left panel, or on the icon
itself in the display ?ust above the window9s command
buttons. )n the e+ample shown, (nable etronome has been
selected. Click on the Re'ove button.
Add a ne% acion or co''and o #e
oo-bar
)n the customi;e toolbar area @left panelD 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
5e-ec$8-ose. '($P(' will add this to your toolbar and
assign an icon.
+o add a separaor space be%een %o
oo-bar ie's
)n the customi;e toolbar area, right-click over the second of
these items and choose Add separaor from the menu.
+o c#ange #e icon used for any
oo-bar ie' Einc-uding an ie' #a
you #ave addedF
'ight click over the icon in the icon display near the bottom of
the Customi;e enus2Toolbars window, ?ust above the
command buttons. This causes the 5e-ec oo-bar icon
window to be displayed. Celect your reGuired icon then close
the Celect toolbar icon window.
8#ange #e acion assigned o a
oo-bar buon
)n the customi;e toolbar area @left panelD select the item that
you wish to change. 'ight click, choose 8#ange acion, then
select from the action list and click on 5e-ec$8-ose.
Rep-ace a oo-bar icon %i# e3 'ight click over the item in the customi;ed toolbar list in the
left panel. Choose +e3 /con from the menu, type the te+t
then click (H.
8#ange #e posiion of an ie' on #e
oo-bar
,se the mouse to drag and drop up or down the list shown in
the customi;ed toolbar list. Ctrl : 2 Ctrl P may also be used, as
can Cut and Paste from the right click conte+t menu.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!O#
Up and Running: A REAPER User Guide v 4.72
/n order o do #is ... = you need o do #is.
8-ose #e 8uso'iDe 2enus$+oo-bar
)indo% %i#ou saving your c#anges
Click on the 8-ose button. Choose <o when asked if you
wish to save your changes.
5ave #e oo-bar %i# your c#anges Click on the 5ave button.
Resore #e oo-bar o is defau-
saus
Click the Rese button.
Choose Rese 8urren
2enu$ +oo-bars o
6efau-s from the menu.
Celect .es to confirm9
E3por #e curren cuso' oo-bar or
a-- oo-bars$'enus as a
Reaper2enu5e
Click on E3por... , choose E3por A-- or E3por 8urren,
then type a name and click on 5ave @see also note belowD.
Rep-ace #e curren cuso' oo-bar or
a-- oo-bars$'enus %i# a previous-y
saved Reaper 2enu 5e
Click on /'por... then select the reGuired menu set file, then
click on (pen.@see also note belowD
<oe1 'eaperenuCets can also be included when e+porting2importing '($P(' configuration preferences and
settings F see Chapter %R.
E3a'p-e
The real benefit of this e+ercise will come from it teaching you a techniGue, not from the actual e+ample.
%. 'ight-click over the toolbar area @but not any
specific toolD and choose cuso'iDe
oo-bars... from the conte+t menu.
!. Click on the last item on the toolbar @(nable
lockingD then click on Add... to open the
$ctions Nist.
0. Find the action Vie%: +ogg-e 'aser rac& visib-e. Celect this, then click on 5e-ec$c-ose. This item
will now be
added to the list
of toolbar items.
)n the icon
display, it will be
labelled
something like
6Tog ast7.
&. Drag this item up
or down the list to whatever position you want it to take.
Q. )f you do not like the te+t +og 2as you can right-click over
the item in the list and choose either 8#ange icon @to select
an iconD or +e3 icon @to type a different te+t labelD. )f you
choose e3 icon, you may also select a 6oub-e %id#
oo-bar buon option for better te+t display.
O. Click 5ave and then 8-ose. )f you don9t want to keep this icon,
access the customi;e menus2toolbars window again and
simply remove it.
+ip: The command Posiion oo-bar can be used to change the position of or float the main toolbar1 see
section immediately below this one.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
!O5
"@ - 8uso'iDaion: Acions> 2ouse 2odifiers> 2enus and +oo-bars
"@.2@ 8reaing Addiiona- 8uso' +oo-bars
'($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 reGuirements. =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. Jou may display as few or as many of
these toolbars as you wish. =y default, each toolbar contains
one icon, labelled 6(dit e7. To change this, you will need to
customi;e the toolbar @see belowD.
(ach toolbar window can be dragged, resi;ed and positioned
anywhere on your screen. )t can also be kept on top @using the
pin symbolD. 'ight click over the empty area of any custom
toolbar to again display the menu shown @rightD. This offers the
following main options1
5%ic# oo-bar1 selects another toolbar to display in its place.
(pen oo-bar1 use this to open another toolbar.
Posiion oo-bar1 used to dock the toolbar at the main toolbar, at
the top of the main window, in the toolbar docker, or to float.
8uso'iDe oo-bars1 use this to open the 8uso'iDe
'enus$oo-bars window to enable you to customi;e the
contents of any of the toolbars. =y default, the currently displayed
toolbar will be selected for editing.
Jou can add commands to each or any of these toolbars as you wish. To select a different toolbar for editing
after opening the 8uso'iDe 'enus$oo-bars window, display the drop down list from the top left corner of
the Customi;e menus2toolbars window. The following table summari;es the main editing options.
/n order o do #is ... = you need o do #is.
8#ange #e na'e of any
abbed oo-bar
Celect toolbar in the Customi;e enus2Toolbars window, click on
Rei-e... then type the new name then click on (H.
Add an acion or co''and o
a cuso' oo-bar
Click on Add... to display the $ctions Nist. Celect the command or action
and click on 5e-ec.
+o edi a cuso' oo-bar
buon -abe-
'ight click over the item in the customi;ed toolbar panel @leftD and
choose +e3 /con... Type the te+t then click (H.
+o assign an icon insead of
e3 o a cuso' oo-bar
buon
'ight click over the item in the customi;ed toolbar panel @leftD and
choose 8#ange /con... Celect the reGuired icon from those displayed,
then close the 5e-ec +oo-bar /con window.
+o re'ove an ie' fro' a
cuso' oo-bar
Celect the item in the Customi;ed Toolbar @leftD panel and click on
Re'ove.
+o c#ange #e order of icons
on a cuso' oo-bar
Drag and drop items up or down the list displayed in the customi;ed
toolbar @leftD panel.
+o save a cuso' oo-bar se Click on the 5ave button in the Customi;e enus2Toolbars window.
+o e3por a cuso' oo-bar
se
,se the E3por... button and choose E3por curren 'enu$oo-bar
o = Type a name and click on 5ave.
+o i'por a oo-bar se ,se the /'por... button, select the file name, click on (pen.
+o doc&$undoc& #e f-oaing
oo-bar
'ight click on floating toolbar, choose 6oc& f-oaing oo-bar then
select one of the three options.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!OR
Up and Running: A REAPER User Guide v 4.72
Chown here is an e+ample of custom toolbars, used to give easy access to various track and windows screen
sets. Net9s see how this was done.
E3a'p-e
%. <ith the 8uso'iDe 'enus$oo-bars window open select F-oaing oo-bar ".
!. Click on Rei-e... and
type 5creen 5es. Press
Ener.
0. ,se the Add... button to
open the $ctions Nist window. Celect 5creense: ,oad %indo% se Z!4, then click on 5e-ec.
&. <ith the $ctions Nist window still open, select the action 5creense: ,oad %indo% se Z!@ and again
click on 5e-ec.
Q. 'epeat step & several times to select the other actions reGuired for this toolbar..
O. Celect the action 5creense: ,oad rac& vie% Z!" then click on 5e-ec$c-ose.
#. )f necessary, drag and drop any of these items up or down the list to put them in your preferred order.
5. )f necessary, remove any unwanted items on this toolbar.
R. 'ight-click over each item in turn and choose the +e3 icon command. (nter a label, such as +rac& 5e
" and enable the option 6oub-e %id# oo-bar buon.
%". 5ave and 8-ose the 8uso'iDe 'enus$oo-bars %indo% when finished.
This e+ercise has shown you how to create a custom toolbar. Anly you can decide, however, when you should
create them. ,se them for those activities that you use the most. For e+ample, if you find yourself getting
frustrated when navigating and ;ooming, then make a ;oom2navigate toolbar. )f you spend a lot of time editing
media items, make an item edit toolbar. )n Chapter %O you9ll find a custom toolbar for working with envelopes.
"@.24 8reaing 5'ar +oo-s
)f you have used other D$< software @such as Cubase, Pro Tools or ConarD before coming to '($P(', then you
may be used to using a toolbar to help with various editing tasks, such as splitting, deleting or muting items.
Jou have already seen that this method of working is not native to '($P('. Lowever, 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 Nist includes a number of actions suitable for this sort of treatment. These include actions like
/e': 5p-i /e' Under 2ouse 8ursor. )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 F 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 Cmart 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
5p-i /e' Under 2ouse 8ursor. Then, to use it as a smart tool, simply do this1
%. '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.
!. Neft click on @in this e+ampleD 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.
Ance a tool is armed it will remain armed until you 6unarm7 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 @made larger or smallerD by dragging its lower right hand corner in or out F
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 Don9t scale toolbar buttons above %1% on the $ppearance page of your preferences
window. There is also an option Don9t scale toolbar buttons below %1%.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
!#"
"4 - REAPER P-ug-ins in Acion
"4 REAPER P-ug-ins in Acion
"4." )#a Are P-ug-insX
ThereHs a wonderful assortment of plug-ins supplied with '($P(' - over !"" of them* These include the
Tesusonic and the PCT '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. Come simple e+amples of when and why you might want to use a plug-in are1
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 Gualities 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 6live7 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.
"4.2 +#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, donHt overdo them.
!. >ever ?udge the Guality of a plug-in by how much you like its presets. Presets reflect someone elseHs
idea of how something ought to sound, not the Guality of the plug-in, nor its potential. Jou will almost
certainly never learn how to get the best out of any plug-ins, be they (E, compression, reverb or
anything else unless you take the trouble to understand their various parameters. $nd that takes time.
0. Jou canHt ?udge the Guality of a plug-in by its cost. >o, really you canHt. Come plug-ins are free. Come
cost literally thousands of dollars. Come free ones are pretty awful, some are great. Come plug-ins
costing hundreds of dollars are, to be polite, very, very ordinary. Athers are e+cellent.
"4.@ +#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. <hy3 =ecause there is so much choice. Leaven help me,
have ) really got to understand all that lot to be able to use this recording caper3
>o, you donHt. Nearn in steps as you go. )n essence there are essentially five types of plug-in @well, thereHs a
ma?or e+ception to that, which )Hll get to shortlyD. These five types are1
5ound 5#aping1 these plug-ins affect the freGuency @pitchD of your track@sD. $n e+ample is (E.
+i'e-4ased Effecs1 these plug-ins manipulate how your track@sD interact with time. (+amples
include Delay, Chorus and 'everb.
Vo-u'e 8#anging1 these are plug-ins that determine the overall volume or perceived volume of your
track@sD. (+amples are Compressors and Nimiters.
Rouing P-ug-ins1 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 chapter1 we9ll get to it in Chapter %Q.
Ana-yica- P-ug-ins1 these display information, but don9t in any way alter the sound of the track.
$nd that e+ception3 <ell, some plug-ins can cut across more than one of these categories at the same time,
performing more than one ?ob. Ane e+ample of this is a ultiband Compressor, which displays the
characteristics of both an (E and a Compressor.
)t would be way beyond the scope of this ,ser .uide to teach you the science between these various plug-ins F
that would reGuire an entire volume in itself* Aur ob?ective is to give you an introduction to what '($P(' offers
in this area, and to show you how '($P('9s own interface is used to control them.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!#%
Up and Running: A REAPER User Guide v 4.72
"4.4 Ad9using P-ug-in Para'eer 8onro-s
Plug-in faders can be ad?usted using any of four main methods. These are1
Lover your mouse over the fader and scroll the mousewheel. ,se 8r- for finer ad?ustments.
Click on a fader and drag the mouse. Lold the 8r- key for finer ad?ustments. Lold A- for 6elastic7
auditioning1 the control will return to its original position when the mouse is released.
Click on the fader then use the Up and 6o%n arrow keys.
Click in the parameter value window @in the first e+ample show below, you can see one of these to the
immediate right of each of the three hori;ontal fadersD and type a value.
)f you prefer not to use the first of these methods @for fear of making accidental ad?ustmentsD, you can enable
on the (diting =ehavior, ouse page of your Preferences the option /gnore 'ouse%#ee- on a-- faders.
"4.A 5ound 5#aping Effecs: ReaEP
any sound shaping plug-ins fall @in one way or anotherD into the (E category. (E means 6eGualisation.7 This is
rather strange, since they are used to emphasise @or de-emphasiseD selected freGuencies. Perhaps they should
be called 6,n(E7*
'ea(E is the main (E plug-in
supplied with 'eaper. There are
also several TC (E plug-ins but
'ea(E is the most powerful and
fle+ible. Net9s take an e+ample.
%. Apen 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 (E. 5o-o the
Vo3 track.
0. Display the F7 %indo%,
click on Add and add
8oc&os V5+: ReaEP.
>otice that by default this
has & band tabs @numbered
% to &D.
&. Play the song. $s you do so, select 4and 4 and fade the Gain left to about F 0Q d=. >otice how deep the
voice becomes. Double click on the fader to return it to the centre.
Q. Celect 4and 2. Fade the .ain down to about F %& d=. >otice how tinny and even disembodied the voice
sounds. Double-click to return to normal. >ow lift the .ain to about W0 d=. The voice should sound Guite
pleasantly fuller and warmer. Celect =and 0 and set the FreGuency to about &!"". Abserve what happens
as the gain is ad?usted between W0.Q and -0.Q. <hen finished, return it to ".". Cave the file.
<hat has been happening is that you have been ad?usting freGuencies This is a huge sub?ect. )t is way beyond
the scope of this guide to teach everything there is to know about (E, but here is a brief introduction. (+actly
how you divide up the freGuency spectrum is to some e+tent arbitrary. LereHs one way that makes sense1
FreIuencies 8o''ens
"? o ?! *D Very ,o% 4ass. These freGuencies are felt rather than heard.
?! o 2A! *D 4ass. Lerein 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.
2A! o 2!!! *D +#e 2id Range. Too much gain here makes it sound like youHve recorded from the
other end of a telephone. )f a take sounds muddy, try cutting it here.
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FreIuencies 8o''ens
2!!! o 4!!! *D Upper 2id Range. Aften a tricky area. Too much can cause listening fatigue. Nower
this range a tad on the mi+ while boosting a tad on vocals can help a vocal stand out.
4!!! o ?!!! *D Presence Range. This is the key range for clarity and presence of instruments and
vocals. Come gain here will bring the instrument or voice forward in the mi+. $ drop
here can pull a vocal or an instrument back.
?!!! o "?!!! *D *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 6heavy7.
Co ... we know that the freGuency is measured is measured in L; @and kL;D, 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 F first, band width. 'ea(E 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
freGuency. $ wide setting means that you will be working on a much wider part of
the spectrum. $n e+ample of the difference in how a narrow bandwidth @topD and
a wide bandwidth @bottomD can shape a sound is shown here.
Jou will also see, if you display the drop down list labelled +ype that there are
several type of band. Come of the most commonly used are1
4and: the volume is raised or lowered either side of the freGuency, the range
being determined by the bandwidth setting. Cometimes called a 6peaking filter.7
,o%$*ig# Pass1 Filters out freGuencies above2below the freGuency setting.
,o%$*ig# 5#e-f1 Causes the gain to be lowered or raised below2above the
freGuency setting.
Pass and 5#e-f will in most cases only be used @if at allD at very low freGuencies or very high freGuencies.
Jou can add or remove bands using the $dd band and 'emove band buttons.
+ip: DonHt forget that you can create track parameter controls and2or automation envelopes for this or any
other plug-in by clicking on the Para' button in the plug-in window F as e+plained in Chapter %".
"4.? +i'e 4ased Effecs: 6e-ay
These include reverb, delay and
chorus. Cound takes time to
travel thru any distance, and
surfaces like walls and ceilings
create reflections which make the
sound patterns even more
comple+, intricate F and alive.
Time based F: use a number of
tricks and techniGues to artificially
simulate this, thereby creating a
more 6live7 sound. =ut be
careful. Too much here can ruin
an otherwise good sound.
Para'eer 6escripion
6e-ay E'sF Determines the amount of time that passes between the original sound and
when the delayed sound is heard.
Feedbac& 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.
2i3 in Ed4F Determines the overall output level.
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Para'eer 6escripion
(upu %e Ed4 Determines the Autput level of the Post F: signal. Nowering this relative to the
dry output will make the effect more subtle.
(upu dry Ed4F Determines the Autput level of the Pre F: signal
)n this e+ample, we will use the 15: 6e-ay$6e-ay to add a touch of delay to the =ou;ouki.
E3a'p-e
%. ,nsolo your Po+ track and solo the track =ou;ouki. Apen its F: <indow and add the TC1Delay2delay.
!. 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.
0. ,nsolo the track, then continue to make any further ad?ustments until you are satisfied with the results.
&. Cave the file.
<oe1 The plug-in Rea6e-ay is a more powerful alternative to TC Delay. )n particular, it allows you to create
multiple delay taps, each with its own delay settings, and to pan each of these individually.
"4.7 Vo-u'e 8#anging P-ug-ins: #e ,i'ier
)n this ne+t e+ample, we will look at an e+ample of one volume changing effect, the TC1NAC('1masterNimiter.
This can be added to the F: <indow for your $CT(' to perform two functions. These may at first appear to
be contradictory, but they are not1
To raise the overall volume of the mi+, but at the same time I
To prevent the mi+ from 6clipping7, i.e. getting too loud at any point.
<e will be using the 15:,oser$'aser,i'ier which includes the following controls and parameters1
Para'eer 6escripion
+#res#o-d 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.
,oo& A#ead Determines how far ahead the limiter looks F this helps smooth out sudden peaks.
Aac& Determines how Guickly the limiter kicks in as the signal increases.
Re-ease Determines how Guickly the limiter recovers after a peak is encountered.
,i'i This determines the ma+imum volume that cannot be e+ceeded.
E3a'p-e
%. Display the F: <indow for your
$CT(' and insert the 15:
,(5ER $'aser,i'ier.
!. Play the song, ad?usting the
controls.
0. $s you lower the Threshold, the
volume will get louder, but the
ma+imum @limitD volume is
never e+ceeded.
&. $s you lower the Nimit, the
song gets Guieter.
Q. The more you lower both
Threshold and Nimit, the more you sGuee;e the dynamics out of the song F volume remains almost
constant, and there is little or no movement in the P,.
The trick to using a limiter well is to smooth out peaks and dips somewhat, but without adversely affecting the
dynamics of the song. $nd, especially at first, be gentle*
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"4.B Ana-yica- P-ug-ins: #e GF7Ana-yDer
Chown on the right is a 15: Ana-ysis
GF7Ana-yDer plug-in.
)nsert this into any track9s F: chain @or
the master9s F: chain and as the
pro?ect is played you are given visual
feedback as to the level of output at
different freGuencies.
This can sometimes help, for e+ample,
in identifying which freGuencies might
need attention.
Three of the Cockos plug-ins F 'ea(E,
'eaFir and 'ea:Comp - all include an
analytical display similar to that shown
here as part of their standard interface.
>ow that you9ve had a look some
e+amples of different types of plug-in.
<e can go on and e+amine some more.
First, though, another word or two
about presets ...
"4.C Using F7 Preses
<hen you are satisfied with your settings for any plug-in, you
might wish to save them as a preset, so that you can apply them
ne+t time you want to use it on another track1
%. Click on the J button ?ust above the TC Delay2delay plug-
in when this plug-in is selected.
!. Choose 5ave prese from the menu.
0. Type a name and click on (H.
To save these as default parameter settings for the plug-in when
it is used in the future, use the 5ave prese as defau-...
command from the same menu.
To import an e+isting preset library @such as you might be able to download from the '($P(' web siteD you
would choose /'por prese -ibrary=. To e+port your
presets to a file @for backup purposes, or to use on another
computerD you would choose E3por prese -ibrary ...
+o c#oose an e3ising prese @from those you have
previously saved or imported, or which were supplied with the
plug-inD, simply insert the plug-in into that trackHs F: window,
display the drop down list of presets @see leftD, then select the
one that you want.
<ithin the F: =rowser, the (pions> 5#o%
defau- F7 preses can be used to list any default
preset in the browser window alongside the plug-in
name.
Jou can then double-click on the preset name to
select a different default preset for that plug-in if
you wish @see rightD.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!#Q
Up and Running: A REAPER User Guide v 4.72
"4."! +i'e 4ased Effecs: ReaVerb
'eaPerb is a PCT plug-in that is supplied with '($P('. 'everb itself is a time-based effect, and 'eaPerb uses a
type of reverb known as convo-uion reverb to create the illusion of space. This section will introduce you to
the basics of using 'eaPerb. $fter that, it has more features that you can e+plore for yourself.
ost reverbs attempt to simulate the
effect that the acoustic environment of,
say, a hall or a room would have on
sound. Lowever, the mathematics
reGuired is comple+, so that few come
close to sounding like real acoustic
rooms. 'everb plug-ins vary not only in
their essential Guality but also in the
scope of their applications.
Convolution reverb can give you
realistic reverb on a budget. )t uses
impulse responses of real acoustic
spaces. This is done by first generating
a signal in the reGuired environment
and then recording the result.
'eaPerb 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. Cearch the net and youHll
find all you want, many free. This e+ample uses files downloaded from http122www.vo+engo.com2impulses2 . )n
the e+ample that follows, these files have been downloaded and stored in a folder that we have created and
named 8:GProgra' Fi-esGREAPERGReverb /'pu-sesGVo3engoG
E3a'p-e
%. Apen the file A-- +#roug# +#e <ig#.RPP and save it as A-- +#roug# +#e <ig# REVER4.RPP
!. $dd a new track after the last track, and name it Reverb 4us
0. Create 'eceives into this track from all of the instrument tracks and the Po+ track. This will later enable
you to feed different levels of signal, panned as reGuired, from different tracks into your 'everb =us.
&. Display the F7 )indo% for the Reverb 4us.
Q. $dd ReaVerb into this F: <indow.
O. Fade the )e level down to around FO" and the 6ry level down to about O!.A> as shown above. <e will
start by adding ?ust a little reverb, then increase it as reGuired.
#. Click on the Add button and then on Fi-e. This lets you add a file at the start
of your 'everb chain. >avigate the file browser window to where your impulse
files are stored and select one. )n this e+ample, we will be using 5 <ico-aes
8#urc#.%av
5. Click on (pen to insert that file into 'eaPerb.
R. P-ay the file. )n the Track <indow, lower the Polume fader for the 'everb =us
to about F%"d=. Nower the fader on the aster to about F Od=. Jou can bring
this up again later if you wish.
%". )n the 'eaPerb window, now raise the wet signal until you hear a pleasing
amount of reverb. This will probably be at about F%" d=. )f you like, Colo the 'everb track for a while, so
that you can discern the effect more clearly.
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%%. <e can now use the 'eaPerb
controls to ad?ust the 'everb
effect. The Pre-reverb fader
offsets the reverb tail by delaying
the signal that is sent to the
reverb tail generator. Try it for
yourself.
%!. To add more controls to the
'everb chain, click on Add and
choose +i'e$Gain$5rec#.
Jour window suddenly has all
these e+tra controls. These are
used to stretch the impulse
@make it longerD, add in some
graininess, or trim the impulse
@make it shorterD. The best way
to find out is to e+periment*
%0. >ow click on Add again and add
a Fi-er E,P$*PF. This causes a
Ligh Pass Filter and a Now Pass
Filter to be added. This can be
used to stop the reverb impulse
from being added to very low
and2or very high freGuencies.
%&. <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 5ave prese, name the
preset and click (H.
>otice that when you are
e+perimenting with 'eaPerb you can1
Drag and drop to change the order in which modules are positioned in the reverb chain.
,ntick the bo+ to the left of any moduleHs name to bypass that module.
+ip: <hen making changes to 'eaPerb settings it may be necessary to first stop and then restart playback for
those changes to be employed.
ReaVerb Feaures 5u''ary
Ec#o generaor - generates an echo - useful for 8filling in the gaps8 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=FC.
Reverse F reverses the 'everb F a nifty effect for vocals, guitar solos and song intros2outros.
+ri'$Gain$5rec# F trim or stretch the impulse @make it shorter or longerD, add in some graininess.
Fi-e - use this to insert an impulse file. Jou can insert as many files as you want*
2a3 FF+ F 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. Ligher 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. )f unsure, use the default setting.
Q, F option to enable ;ero latency1 useful when tracking while monitoring reverb levels.
,, F option to use an e+tra thread to improve low latency performance.
Jou may find when rendering that better results are obtained with both SN and NN disabled.
5e a-- -apply these performance settings to all instances of 'eaPerb in the current pro?ect.
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!##
Up and Running: A REAPER User Guide v 4.72
"4."" Vo-u'e 8onro- %i# 8o'pression: Rea8o'p
(arlier in this chapter, we encountered a ,i'ier. Jou can think of a limiter as being like imposing a ceiling F 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 F 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 @centerD, and
with compression instead of limiting @rightD.
>otice that on the original waveform the volume
varies Guite considerably from time to time.
$pplying a limiter @near rightD can lift the Guieter
passages, but may make the overall effect too
loud. The dynamics have been largely sGuee;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.
Coftware compressors vary from the
simple to the comple+. <eHre going
to concentrate here on
understanding ?ust five main terms.
These are essential to
understanding how to use
compression. There are other
factors, but letHs ?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.
Raio F This determines how
gently or severely the
compression is reGuired. 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 F This is how the volume of the track is ad?usted after compression. Aften you will want to raise the
overall sound at least a little, to prevent the overall volume of the track from now being too Guiet. The
gain control in Rea8o'p @aboveD is labelled )e.
,i'i (upu F Celecting this option will prevent the compressor output from e+ceeding " d=.
4ypass F this is the small tick bo+ in the top right corner, ne+t to the ,) button. Jou can use this to
toggle bypass on and off, enabling you to assess what this plug-in is doing. <hen this is ticked @as hereD
the plug-in is active. <hen unticked it is set to bypass. JouHll find one of these in all plug-in windows.
E3a'p-e
%. Apen the file A-- +#roug# +#e <ig#.RPP and save it as A-- +#roug# +#e <ig# 8(2P.RPP
!. 5o-o the 4ouDou&i track. Nook at its media peaks. Jou can see that it starts at a steady volume, but over
the last 0" seconds or so of the song it gets rather loud.
0. Play the track from the QQ second mark for about %Q secs then stop it. Try applying some compression to
kick in at about F%! or F%0 d=.
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"4 - REAPER P-ug-ins in Acion
&. Display the F: <indow for this track.
Q. )nsert the V5+: Rea8o'p E8oc&osF.
O. Create a loop to play over the last !" secs or so of this instrument.
#. $s you do so, e+periment with setting the Threshold @vertical fader on the leftD and the 'atio. Celect the
option to ,i'i Autput. JouHll probably end up with a setting of something like -%O on the Threshold and
a ratio around &1% or Q1% @see pictureD.
5. >ow save this file.
"4."2 ,(5ERNs +ransiens 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
youHre not too confident about using
a compressor, then you could do
worse than look at ,(5ERNs
+ransiens Hi--er. )tHs a simple
compressor @more like a clipper
reallyD with ?ust two parameters for
you to control F Threshold and
'atio. $ll other settings are fi+ed. The threshold determines the volume at which compression begins F the ratio
determines how much compression is applied.
Feeling a little more adventurous3 Try adding ,(5ER;s +ransien 8onro--er immediately after this, to add
more sustain and2or attack to the track, folder or mi+.
"4."@ ,ieon;s 6e-Esser
Niteon9s 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 freGuency with a
compressor to tame the sibilance.
=y turning 2onior 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 &Q"" L; and
female at about OQ"" L; F but these
can vary with individual singers.
The 4and%id# determines how
wide or narrow will be the freGuency range to which the compression is applied.
+#res#o-d, Raio and Gain work in the same way as in a normal compressor.
"4."4 Vo-u'e 8onro- %i# a <oise Gae
>oise .ates controls sound at the Guiet end of the scale. Aften 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* Lowever, 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. Nike the compressor, the >oise .ate can be Guite simple or more
sophisticated. For now, weHre going to focus on ?ust the basic >oise .ate controls1
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+#res#o-d F ,sed to
specify a minimum sound
level below which the >oise
.ate will kick in.
Aac& F Cpecifies how
Guickly 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 F This specifies how
long the gate remains open
after the signal falls below
the Threshold
Re-ease F This determines
how soon the gate closes
after the signal has fallen
below the Threshold.
NetHs take an e+ample, using the
pro?ect A-- +#roug# +#e <ig#
8(2P.RPP
E3a'p-e
%. Colo the Po+ track.
!. Play the song from ?ust before the end of the first verse. )f you listen carefully @especially thru
headphonesD you can hear some unwanted sounds during the otherwise silent passage. Certainly you can
see this on the trackHs P, meter.
0. Apen the F: <indow for this track and add 8oc&os V5+ ReaGae.
&. Play the song again. $d?ust the +#res#o-d fader @the first on the leftD to a level ?ust above that at which
the ThresholdHs P, meter is peaking during the Guiet passages @see belowD. This will shut out the sound F
visual confirmation is given by the P, meter on the right, which should now display no activity.
Q. Jou will probably find that the default settings for $ttack, Lold and 'elease work Guite well, but
e+periment with ad?usting them if you wish.
O. >ow save this file again.
Jou have ?ust seen here a simple e+ample of using a noise gate. >oise gates can be used to great effect and for
a large number of applications @including with a drum kit to cut out the bleed between micsD. $pplications like
that are more complicated and reGuire a greater understanding of the noise gate9s many parameters.
"4."A 5si--%e-- 8#orus and 6e-ay Effecs
)f you have ever owned an acoustic
guitar then you probably know what
a chorus effect is. Jou might have
used a chorus pedal at some time to
make your guitar sound fuller and
richer, almost like two or more
guitars.
'($P(' includes a number of
chorus effects. Chown here is
5si--%e--;s 8#orus:5ereo.
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#ed0
!5"
"4 - REAPER P-ug-ins in Acion
and see* This is another plug-in where youHll find the wet2dry mi+ control and bypass toggle tick bo+ @top rightD
can be very useful.
Ather chorus2delay effects from Cstillwell include a mono 8#orus effect, 6e-ay:Pong @creating a delay effect
which can be ping-ponged between left and right speakersD, and 6e-ay:+e'po @a simple delay effectD. For a
really unusual delay effect, try e+perimenting with re'ainca-';s f-oay de-ay.
"4."? <oise Reducion %i# ReaFir
ReaFir is a multipurpose dynamics plug-in that almost defies categorisation or description. )t can act as an (E,
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 @perhaps a second or twoD where you have recorded the unwanted noise by
itself. This is likely to be at the very beginning of the track.
E3a'p-e and Procedure
)n overview, the
procedure is this1
%. )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.
0. Cet ReaFir to
5ubrac
mode.
&. Cet (dit ode
to Precise.
Q. Celect the
Aption to Auo'aica--y bui-d noise profi-e.
O. Play the track only for the duration of the passage containing the noise, then stop the playback.
#. Jou should see that ReaFir has built a profile of the unwanted noise. This will be marked with a red line
@see above rightD.
5. >ow uncheck the bo+ labelled Auo'aica--y bui-d noise profi-e.
R. 'eturn the play cursor to the start of the song and play it.
%". Jou should now find that as the song plays, the noise that you profiled by following steps %. to Q. has
now been removed from your output..
<oe: Jou 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 Guite 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 vocalist9s breathing sounds.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!5%
Up and Running: A REAPER User Guide v 4.72
"4."7 2u-iband 8o'pression %i# Rea78o'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 Guite 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 freGuency
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
!"" L;, !"" L; to
%,""" L;, %,""" L; to
Q,""" L; and above
Q,""" L;. Lowever
you can add e+tra
bands or delete
superfluous ones. Jou
can also change the
band freGuencies as
you wish. For e+ample,
if you increase the top
freGuency of =and %
to, say, !Q" L;, then
that automatically becomes also the starting freGuency 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. Jou can e+periment on any of the sample A-- +#roug#
+#e <ig# pro?ect files that you have used elsewhere in this ,ser .uide.
E3a'p-e
%. Apen one of your sample pro?ect files.
!. )nsert Rea78o'p in the F: window for the aster.
0. Play your pro?ect from the beginning.
&. )t is Guite 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 @green vertical barsD fall short of the threshold settings @red hori;ontal linesD
for each band @see e+ample aboveD =ut you can still learn something*
Q. (nable the 5o-o curren band feature.
O. $s the song plays, select in turn each of the four tabs, %, !, 0 and &. This will enable you to hear
separately each of the freGuency ranges that you are working on.
#. >ow disable the 5o-o 8urren 4and feature. Disable Auo 'a&eup gain. This will need to be done
individually for each of the four band. )f Auo 'a&eup gain were to be left enabled, the volume of our
mi+ would be pumped up after we make our other changes.
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5. $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.
R. The default 'atio
setting of !1% is
Guite a 6safe7
level. Try
increasing the ratio
for each of your
thresholds up to
around &1%. )f you
find this makes the
sound too
compressed, ease
the levels back
towards !1%.
'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.
%!. Jou can also e+periment with the Gain controls if you wish, both for individual bands and for your overall
mi+, but don9t overdo it.
Using Rea78o'p: 5o'e +ips
DonHt 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.
Nisten closely to the changes in sound as you ad?ust the various settings. Ane 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 @such as NAC('Hs aster NimiterD after the ultiband Compressor in
your F: Chain.
$nother, and completely, separate use for a ultiband Compressor is to compress a very specific
freGuency within a track, for e+ample as a de-esser or de-popper on a vocal track.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!50
Up and Running: A REAPER User Guide v 4.72
"4."B ,(5ERNs +i'e6ifference Pan
Af the many TC plug-ins that are supplied with @or available for use withD '($P(', NAC('Hs TimeDifference Pan
definitely merits a mention. )t is simple to use, but very effective.
Cometimes you may feel that a
track you have recorded sounds
rather 6thin7 or 6wimpish7. JouHll
want to fill it out a bit, or fatten it
up to make it sound richer,
warmer, fuller. Ane 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.
NAC('Hs TimeDifference Pan plug-in effectively does all this for you F 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 4ouDou&i track on A-- +#roug# +#e <ig#.RPP lends itself to this Guite well.
"4."C ,(5ERNs E3cier
NAC('Hs (+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. Lowever, 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 parameters1
FreIuency F the freGuency above which you want to add the sparkle. Try e+perimenting in a range of about
!""" L; to &Q"" L;. Cometimes, you may need to go even higher for the best results.
8-ip 4oos F the amount by which you wish to boost the volume above this freGuency. =e gentle at first.
*ar'onics F the amount of Larmonics you want to add to the mi+ @go easy on this oneD.
$nother plug-in in a similar vein is the 15:55i--%e--$e3cier.
"4.2! 55+i--%e--;s *uge4ooy
This is a simple plug-in that can
be used to enhance the bass
freGuencies on any track.
Try setting the reGuired freGuency
first, then gradually increasing
drive and mi+ until you like what
you hear.
"4.2" 5o'e Unusua- 15 P-ug-ins
"4.2"." Ui-iy$bufsave
Placed as the first F: chain item @or, for )D) tracks, immediately after the synthD and at the end of the chain,
this adds feedback to the chain @see e+ample belowD. ,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.
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The F: )n between the two instances of bufsave could be a solitary simple effect @such as a simple delay, or
remaincalm9s floaty delayD or, as shown here, a whole seGuence 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. $s a precaution, initially set
both source to buffer mi+ faders some way to the left. Jou can then slowly fade these up more as reGuired.
)nteresting sounds can be obtained using more than one pair of bufsave plug-ins in an F: chain, with each pair
being allocated its own uniGue slot.
"4.2".2 5si--%e--$#under&ic&
This one can be positively scary* )t
adds a bottom end thunder-like
sound to a track. Jou could try
using it on a bass drum, or a synth
or even an electric bass I or
anywhere where you want to
create that atmosphere.
)ts four faders are Guite easy to
work with. Jou9ll likely get the best
results without too much
e+perimenting.
"4.2".@ Re'ainca-':org$onegae
Tonegate is a tone generator
triggered off a gate, to add sine,
sGuare or noise tones. )t is made
more interesting by the addition of
pitch and fade in2fadeout controls.
This plug-in really gives you plenty
of opportunity to be creative.
Ariginally intended for use with kick
or snare, it is remarkably versatile.
Try it out on your electric guitar, for
e+ample.*
(+periment at first with the
FreIuency fader and the
)avefor' options, then let your
ears be your guide as you ad?ust
the other controls.
Jou can learn more about this and
other great remaincalm TC plugins
by visiting re'ainca-'.org.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!5Q
Up and Running: A REAPER User Guide v 4.72
"4.22 5o'e Guiar F7 P-ug-ins
ThereHs a whole series of Tesusonic plug-ins especially designed to help you shape your guitar sounds. =y and
large, they work in much the same way as your guitar pedals do. Lere is a selection1
P-ug /n 6escripion
15 Guiar$a'p-'ode-
15 Guiar$a'p-'ode--dua-
Nets you select an amplifier to be simulated, such as a Fender or a
arshall. Nots of parameters for you to tweak* The dual version of this
plug-in lets you choose different left-right speakers*
15 Guiar$c#orus 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
Nength, >umber of Poices, and 'ate settings.
15 Guiar$disorion This plug-in works by distorting the shape and freGuency content of the
waveform. The degree of distortion applied is determined principally by
the .ain and Lardness settings.
15 Guiar$f-anger 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 Nength, 'ate and Feedback parameters.
15 Guiar$p#aser This four allpass filter stereo phaser effect settings include 'ate
@L;D,'ange @in and a+D, and Feedback.
15 Guiar$%a# The wah effect is a filter effect, produced by the Position, Top
'esonance, =ottom 'esonance and Filter Distortion settings.
15 Guiar$re'o-o Tremelo is produced by low-freGuency variation in a sound9s amplitude
envelope, achieved by setting FreGuency @L;D and $mount @d=D.
)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. $s a starting point, one
possible order is shown on the right.
This does not mean that you shouldnHt hold back from
e+perimenting with other F: ordering, to see what creative
sounds you can produce*
Fi-er @e..g.<ah or PhaserD
8o'pressor
6isorion
EP
Pic# 8#ange @e.g. PibratoD
2odu-aor @e.g. Flange or ChorusD
,eve- 8onro--er @e.g. Tremelo or NimiterD
Ec#o @such as 'everbD
"4.2@ 5o'e (#er REAPER 15 P-ug-ins
This ne+t part of this chapter will give you an overview of some of the other wonderful Tesusonic plug-ins
supplied with '($P('. )t is only a small selection, and the fact that any plug-in isnHt included in this table in no
way implies that it is inferior to any of those that are included.
P-ug /n 6escripion
15 /7$5ereoP#ase/nverer Four choices, >ormal Phase, )nvert Neft, )nvert 'ight or )nvert =oth.
15 /7$P#aseAd9usingRouer $ 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.
15 ,(5ER$668 $ custom designed compressor suitable for use with Digital Drums.
15 ,(5ER$5P,i'ier $ simple peak limiter with a single control, Threshold. This can be used to
prevent an individual track from clipping.
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"4 - REAPER P-ug-ins in Acion
P-ug /n 6escripion
15 ,(5ER$gf3Gonio'eer Place it at or near the end of the F:
chain of a stereo track, folder, or
the aster
Jou will see a visual representation
of the movement of the sound
within the stereo field.
15 ,(5ER$5ereoEn#ancer ,sed to create an enhanced stereo effect in a stereo track, folder, bus or
aster. <orks by ad?usting the width panning of high and low freGuencies
independently, and to define the crossover point between the two.
Ather stereo manipulation plug-ins include ,ieon$pseudosereo and
5si--%e--$sereo%id#.
15 ,(5ER$)aves#aping
6isorion
$ delightfully easy to use plug-in that adds distortion to a track.
15 2eers$uner )nsert this into a new track and arm for recording, then tune your guitar.
15 2eers$vu'eer )nsert this into any track when you want monitor its P, levels closely.
15 2isc$onifier $n interesting plug-in that creates sound effects by shifting pitch or
freGuency for audio blocks of a determined si;e.
15 55i--%e--$oDDifier (specially good for fattening or doubling a vocal track.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!5#
Up and Running: A REAPER User Guide v 4.72
P-ug /n 6escripion
15 55i--%e--$e3pander The opposite of a compressor* Can restore dynamics to a mi+ that sounds
overcompressed. This works by further attenuating the volume of the
signal when it falls below a given threshold.
15 55i--%e--$#pf-pf $dds a high pass filter and low pass filter to a track or aster. ,seful, for
e+ample, for removing bottom end rumble.
15 55i--%e--$badbuss'o9o $ 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 6rootsy7 and authentic.
15 55i--%e--$-ouderiDer $ simple plug-in with two controls, used to make a track or mi+ louder.
15 Pic#$superpic# Ane of a number of plug-ins that can be used to change pitch.
15 Fi-ers$auopea&fi-er $ neat plug-in that lets you create autowah type effects, essentially by
ad?usting center freGuencies and filter width. The closer together are the
values of the min and ma+ center freGuency and the lower the octave
width setting, the more dramatic will be the effect.
15 Fi-ers$dc:re'ove $ DC offset removal plug-in.
15 Ui-iy$-i'ier $ simple plug-in. The a+ Pol control can be set to prevent clipping in the
aster track when you are e+perimenting with sounds and mi+ing.
15 Ui-iy$vo-u'e $ 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.
15 Ui-iy$p#ase:ad9us $nother very simple plug-in, used to ad?ust the phase of a track or item.
Aver !"" Tesusonic plug-ins are supplied with '($P('. Lopefully, 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
'($P('9s <iki F go to %i&i.coc&os.co'$%i&i$inde3.p#p$8aegory:1esusonic,
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"4 - REAPER P-ug-ins in Acion
"4.24 /nsa--ing E3ra 15 P-ug-ins
Jou can find more TC plug-ins that are available free of charge at sas#.reaper.f'$ag$15-Effecs
To install any of these, follow this seGuence1
%. Download the effect and @if necessaryD un;ip the file.
!. )f the TC effect file has a .t+t e+tension, edit the file name to remove this.
0. Copy the effect to your '($P(' $pplication Data (ffects folder. Jou can find this by giving @within
'($P('D the command (pions> 5#o% REAPER resource pa# = )f you wish, you can place it in a
sub-folder within the (ffects folder.
&. Close and restart '($P('.
Come TC F: come with other files @such as data files or image filesD. $s a rule, data files are placed in a sub-
folder in the $pplication Data Data folder, and other files are placed relative to the TC F: file. )n most cases
where this is necessary, the TC effect developer will supply specific instructions with the effect.
"4.2A 5pecifying V5+ P-ug-in Run 2ode
<ithin the F: =rowser you can right click over any PCT plug-in to specify your preferred mode for running that
individual plug-in. Jour options are natively, as a separate process, as a dedicated process, or as whichever of
these has been specified as the
default in your preferences.
This option can be used to help
Guarantine '($P(' from the
effects of any plug-in that you
suspect may be causing
performance and2or stability
problems.
"4.2? +#ird Pary P-ug-in Preses
Jou can use your favourite third party PCT and Direct: plug-ins with '($P(', such as Conitus, <ave $rts, Cony,
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-inHs native interface and which type of plug-in it is. )n this section,
we will look at three e+amples. $rmed with this information, you should be able to figure out where to find the
presets for any of your plug-ins.
E3a'p-e "
This e+ample is of a popular Direct:
Conitus plug-in, Phase. )n this case, the
plug-in interface includes its own native
Preses section. Clicking on that @shown
leftD displays a menu of supplied presets.
Jou can also store your own presets here if
you wish, as the Conitus range of plug-ins
includes its own preset manager.
>otice that you can also use '($P('Hs own
Preset Nibrary to store your presets with
'($P(' rather than with the plug-in. This
is accessed by clicking on the small J
button shown ?ust to the left of the Param
button. This is especially useful when you are working with plug-ins that might not have their own native Preset
anager.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!5R
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E3a'p-e 2
This e+ample shows a T<est PCT plug-in, CT($DJ Pro.
This plug-in does not have its own native preset manager. Lowever,
as with other plug-ins you can use the '($P(' PCT program
interface to create and manage your own presets.
E3a'p-e @
$ Direct : plug-in this time, ConyHs Pibrato.
)n this case, native presets do not appear when
clicking on the '($P(' Preset drop down list
arrow. This will only display any presets that you
have created yourself.
)n this e+ample, right-click over any vacant area
of the plug-inHs .,) interface to display a list of
factory presets.
"4.27 ,osing #e Grap#ic User /nerface EGU/F
There might be times when you might want to lose a PCT plug-in9s graphical user interface @.,)D and instead
display its parameters as a simple series of faders. This is when the U/ button in '($P('9s plug-in interface
comes in. Clicking this button causes the plug-in and its various controls to be displayed in a simpler format.
Lere9s an e+ample, using the Terry <est PCT Poc-
(E plug-in.Jou might like this plug-in, but perhaps
not its rotary controls. Come people find rotary
controls Guite difficult to control with a mouse.
)n that case, you might want to click the plug-ins
U/ button @see position of mouse cursorD, and turn
that graphical interface into this1
)n '($P('9s generic interface, every parameter is
controlled by a hori;ontal fader.
There is also an option on the P-ug-ins> V5+
page of your preferences settings to 6efau- V5+
o generic U/ Einsead of p-ug-in U/F.
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"A - 2ore REAPER Rouing E3a'p-es
"A 2ore REAPER Rouing E3a'p-es
This section is mainly intended for reasonably e+perienced users of D$< software, to show you some of the
more clever aspects of '($P('Hs routing that are probably different from anything youHve e+perienced before.
=ut hey, even if youHre a complete newb, you might like to have a look anyway. Jou might find it interesting I
or you might prefer to skip past it for now and come back to this chapter later.
"A." 8onro--ed 4-eed
=leed is a term used when material intended to be recorded on to one track manages to overflow onto others.
This commonly happens1
<hen more than one voice or instrument is recorded at
the same time, each with its own microphone. For
e+ample, you might record a person singing and playing
an acoustic guitar at the same time, perhaps one vocal
mike, one guitar mike. Lowever, you will find that some
of the vocal will bleed thru on to the guitar mike, and vice
versa.
<ith layered recording, when the headphones are so
loud, or ill-fitting, that the microphone being used for
recording actually picks up some of the output of the
headphones.
Leadphone bleed is bad, period. )f, for e+ample, you have an
artist who likes to hold one headphone to her ear while
overdubbing a vocal, then make sure the mi+ is sent to that ear
only. Lappily, '($P('Hs fle+ible routing makes this simple.
)n the e+ample shown @rightD, output from the aster is directed to both Cpeakers, 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. @Nayered recording is where each track is recorded one at a timeD. The
trouble is, the 6all at once7 method of recording it also has negatives F serious ones. For e+ample1
)t isnHt 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 isnHt 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 '($P('Hs routing capabilities can be so useful. They allow you have the best of both worlds F the
richer, fuller sound that you can get from adding a small amount of controlled bleed, but without the
disadvantages. LereHs how it works1
,se layered recording, to ensure that each track is recorded cleanly.
,se '($P('Hs routing to add a little bleed where you want it, before or after any F: in the F: chain.
E3a'p-e
This e+ample demonstrates a simple use of routing to create a controlled bleed effect.
%. Apen the file A-- +#roug# +#e <ig#.RPP and save it as A-- +#roug# +#e <ig# 4,EE6.RPP
!. ute the 4ouDou&i track. To keep
this e+ample simple, we wonHt be
using it here.
0. Celect the Vo3 track, right click
over the Polume fader and set the
number of track channels to four.
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Up and Running: A REAPER User Guide v 4.72
&. Display the F7 )indo% for the Vo3 track. $dd a 'everb F: of your choice. )n this e+ample, we are
using ReaVerbae which is included with '($P('.
Q. $fter inserting the 'eaPerbate plug-in @or whatever you are usingD,
ad?ust its settings to suit. Click on its ! in ! out button and use its pin
connector to direct output to Channels 0 and & only @see rightD.
O. Display the /( <indow for the Po+ track.
#. $dd 5ends from the Po+ @stereo source Channels 02&D to both .uitar
tracks @channels %2!D, as shown. Pan these sends at about #"K left
and right respectively, about F%Qd=, and Post F: @see belowD. This
ensures that the vocal track will be heard crisply and cleanly from the
center, whilst its reverb is directed Guite widely left and right.
5. Play the song, with the Po+ track aster2Parent send disabled. $d?ust
the Cend levels of Po+ to both .uitar Tracks so that the Po+ can only
?ust be discerned in the very background.
R. (nable the aster2Parent send on the Po+ and play again. Jou may need to tweak some reverb
parameters and2or send levels. The Po+ should sound fuller and richer than before.
%". Cave the file.
<o% ry #is0
'emove the 'everb F: from the vocal track.
'emove the sends from the Voca- Track to the Guiar Tracks.
Create a new track called Vo3 Reverb and insert a 'everb F:
of your choice.
Create a send from your Vo3 track to this Vo3 Reverb track.
Create sends from the Vo3 Reverb track to both Guiar
tracks, Post F:.
Play the song, ad?usting Cend, Pan and Polume levels to suit.
Disable the master2parent send of the 'everb track F you
should notice a significant difference.
"A.2 5p-iing 8#anne-s
This e+ample will introduce you to a feature in '($P(' that
possibly delivers you more mi+ing power than any other single
aspect1 the ability to create and use multiple channels.
DoesnHt sound very interesting or e+citing does it3 )tHs not an
easy concept to understand at first, so, ?ust for fun, weHll take
as simple an e+ample as we can to introduce the concept.
Jou have an acoustic guitar track recorded. Jou should by
now have a general idea at least about how to shape its sound with (E, or fatten it with a little delay. =ut in this
e+ample, weHre going to take it to another level1 we can split
the recorded track by different freGuency bands into, say,
three different paired channels, and perhaps pan different
freGuencies differently, or add some trailing delay ?ust to one
channel @i.e., one selected freGuency rangeD.
<hy would you want to do this3 <ith this particular e+ample,
maybe you would, maybe you wouldnHt. =ut being able to
create and use channels in this way opens up endless
creative mi+ing and editing possibilities. <eHll start with this
e+ample because itHs a fairly simple one to put into practise,
and it will help you to understand how itHs done. $fter that,
weHll look at a more comple+ case.
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"A - 2ore REAPER Rouing E3a'p-es
E3a'p-e
%. Apen the file A-- +#roug# +#e <ig#.RPP and save it
as A-- +#roug# +#e <ig# 8#anne-s.RPP
!. <e are @for the purpose of this e+ampleD going to work
only with the track Gr 4ody. 2ue all other tracks
e+cept this. To do this, hold the A- key and click on the
2ue button for this track.
0. <e now are going to create three tracks F letHs call them
.host Tracks F to mirror each of the three bands that we
are going to split our Gr 4ody track into. Create these
three tracks and label them ,o%, 2ediu'> and *ig#.
Cee illustration on right.
&. Display the /( )indo% for the Gr 4ody track. Cet the
number of 8#anne-s @near the topD to ?, and create
sends to each of the three tracks that you have ?ust
created.
Q. Cend $udio from 8#anne-s "$2 to "$2 on the ,o%
track, 8#anne-s @$4 to "$2 on the 2ediu' track, and
8#anne-s A$? to "$2 on the *ig# track @see illustration
rightD.
O. .etting complicated3 Then make sure that your Rouing
2ari3 is in view.
#. >ow open the F: window for the Gr 4ody track and
insert the 15 ,(5ER$@4and5p-ier.
5. Cet the first freGuency fader to about !"" L; and the
second to about !""" L;.
R. Colo the ,o% track and play.
>otice you hear only the Now
freGuencies.
%". Lold 8r- A- and click on the
Colo button on the 2ediu'
track. >otice you hear only
the edium freGuencies.
%%. Lold 8r- A- and click on the
Colo button on the Ligh
track. >otice you hear only the Ligh freGuencies.
%!. (+periment ad?usting the faders in the 0 =and Cplitter and playing back. >otice how the sound changes.
Cet them back to their
defaults afterwards.
%0. >ow select the 2ediu'
track, open its F: window
and add 15:Guiar$c#orus.
$d?ust the settings to suit.
%&. >ow unsolo any solo tracks,
unmute any muted tracks to
restore all tracks to your mi+.
JouHll probably want to fade
down the original .tr =ody
track to about F O d= and the
=ou;ouki to about F %" d=
@or mute altogetherD.
%Q. ake any further ad?ustments you want to your 6e-ay 8#orus settings. $n e+ample @but only an
e+ampleD is shown above.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!R0
Up and Running: A REAPER User Guide v 4.72
%O. (+periment with panning the
three bands differently, to
create a fuller sound.
%#. Cave this file.
The plug-ins supplied with '($P('
include several which can be used
for channel manipulation, including
a four band splitter @shown hereD
and a five band splitter.
"A.@ Fu-- and Fa Voca-s %i# Rea6e-ay
This ne+t e+ample shows how you can combine '($P('Hs
channel splitting capabilities with the 'eaDelay plug-in to
create a simple effect for fattening up thin vocals F all on a
single track* The flow chart on the right illustrates how this
will be done. The signal flow shown has this effect1
)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 of1
The original dry recording.
The sidechained and delayed signal.
The final mi+ of the dry and sidechained @delayedD
signals together.
>ote that the order of the plug-ins in the F: chain is significant1 if you change the order, you change the
outcome* This issue will be e+amined again more closely in later e+amples.
E3a'p-e
%. Apen the file A-- +#roug# +#e <ig#.RPP and save it as A--
+#roug# +#e <ig# REA6E,A..rpp.
!. Colo the Vo3 track. For the purpose of this e+ample, we will be
working with the vocal track alone.
0. Display the /( window for this track and set the number of track
channels to 4.
&. Apen the F7 )indo% for this track. )f there are any plug-ins already
in the chain, remove them.
Q. >ow insert Rea6e-ay into the F: chain.
O. Click on the 2 /n 2 Aut button to display the connector matri+. Neave
the /npus at their default @Channels % and !D, but ad?ust the
(upus so that they are 8#anne- @ @NeftD and 8#anne- 4 @'ightD, and only these two channels @as
shown aboveD.
#. Click on the Add +ap button to add a second page.
5. Cet Page % to a Delay Nength @timeD of about 0.Q ms and musical length ".
R. Cet Page % Pan to about Q"K Neft. This shows on the fader as F".Q. Cee the illustration below.
%". Cet Page ! to a Delay Nength @timeD of about Oms or # ms and musical length ".
%%. Cet Page ! Pan to about Q"K 'ight. This shows on the fader as ".Q.
%!. ake sure that both pages are Enab-ed and that neither is soloed.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
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"A - 2ore REAPER Rouing E3a'p-es
%0. Cet the )e level to about - R d= and the 6ry to about -! d=. =ecause we have not yet added a channel
mi+er you will not yet hear
the delay effect.
%&. )nsert Rea8o'p into the
F: Chain. Neave the ain
)nputs and Autputs both at
their default settings, which
are Channel % @NeftD and
Channel ! @'ightD.
%Q. Cet the Raio to about
?:". $d?ust the +#res#o-d
so that for louder passages
(upu is reduced by
about O or # d=.
%O. <e can now ?oin our
channels back together
again, to mi+ the delayed
signal with the compressed
signal. )nsert the
15:/7$2i3er:B35:"35
into the F: chain @after
'eaCompD.
%#. Fade all but the first two
faders all the way down^
ad?ust the other two faders as
you wish @see rightD.
%5. $dd another instance of
Rea8o'p after the mi+er.
$d?ust settings to suit.
%R. 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.
<oe: )n this e+ample, the order in which the F: are applied is significant. <ith the order that we have used,
the sidechained @delayedD signals do not go thru the compressor, with the result that these signals retain more
of their original dynamics.
"A.4 REAPER 5end +ypes
(very send is defined as being one of three types - Pos-Fader EPos-PanF, Pre-
Fader EPos-F7F, or Pre-F7. The default type is Pos-Fader EPos-PanF, but
this can be changed in your preferences if you wish @Track2Cends defaults pageD.
Different send types send the audio at different stages in the audio signal flow . For e+ample, the volume of a
send that is Post-Fader @Post-PanD will be affected by changes made to the source track9s volume fader. $ send
that is Pre-Fader @Post F:D will not. $n audio send that is Pre-F: will not be affected by any F: in the source
track9s F: chain. For more complete information, consult the flow charts at the end of Chapter Q.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!RQ
Up and Running: A REAPER User Guide v 4.72
"A.A 8#anne- 5p-iing and Pic# 5#ifing
JouHve 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 @rightD demonstrates
this concept.
)n summary, this is what happens1
The Pocal 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 0 and & and Q and O respectively to two separate instances of
'eaComp.
)n each case, you will need to specify Channels 0 and & @'eaComp %D and Channels Q and O @'eaComp !D
as the input source for your compressors. $u+iliary )nputs should be set to nothing, and the Autput
channels should be the same as the )nput Channels.
The output of the two compressors is sent to a single instance of
'ea(E, as is the original signal on Channels % and !. )n order to do
this, you should make )nput % for 'ea(E Channels %, 0 and Q @see
illustration rightD, and )nput ! should be Channels !, & and O.
=y sending the three different audio streams directly into 'ea(E we
cut out the need for a channel mi+er. Lowever, 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 TC utility Polume plug-in in each chain to do this.
The three streams are ?oined back together at 'ea(E, 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 %O channels that can be handled by any of the mi+er plug-ins.
Jou can in fact use up to O& channels.
$gain, the order in which F: are placed in the chain is important. Ane possible strategy is to insert them in
reverse order of their channels, i.e. highest channel numbers first. The critical factor, however, is to place those
F: which both take their input from and direct their output to Channels %2! after any F: whose output is
directed to sidechain channels @such as 02& or Q2OD.
+ip: )f you forget to create your reGuired track channels before loading your plug-ins into a track9s F: chain,
then you can still add them 8on the fly8. To do this, ?ust click on the small J button in the bottom left corner of
the Plug-in Pin Connector window - see above.
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"A - 2ore REAPER Rouing E3a'p-es
"A.? Audio 6uc&ing
The ne+t e+ample will show you how to use
'($P('Hs 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.
Jou might want to do this, for e+ample, when
working with a kick and a bass. )n this
e+ample, weHll use the =ou;ouki, .uitar and
Pocal tracks in our sample pro?ect, ?ust to
show you how itHs 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
Pocal track. This helps lift the vocal track
slightly above the mi+. )n order to do this, we
use multi channel routing in con?unction with
the 'eaComp compressor.
This diagram @above rightD illustrates the
concept of how we use sidechaining to achieve our ducking effect. NetHs take it step by step.
E3a'p-e
%. Apen the pro?ect A-- +#roug# +#e <ig#.RPP and save it as A-- +#roug# +#e <ig# 6U8H.RPP.
!. )f there are any tracks other than Gr
4ody, Gr <ec&, Vo3 and 4ouDou&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+.
0. )f necessary, change track order so that
Po+ is Track %, .tr =ody Track !, .tr
>eck Track 0 and =ou;ouki Track &.
&. )n the Track Control Panel, select the
Vo3 track and press 8r- + to insert a
new track after this. >ame this new
track /nsru'en 5ub'i3.
Q. Click on the Fo-der icon to make this
track a folder. ake the =ou;ouki track
the last track in the folder.
O. <e need to add two more channels to
the /nsru'en 5ub'i3 so that it can receive a sidechain signal from the Po+. 'ight click over the
Polume 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 /nsru'en 5ub'i3 track to
detect the signal level of the Vo3 track.
5. Drag and drop from the /( button on the Po+ track to the /( 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
PanD and set the destination channels to 02& @as shown aboveD.
R. >e+t, display the F: window for the )nstrument Cubmi+ Track. $dd the 8oc&os plug-in V5+: Rea8o'p
E8oc&osF.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!R#
Up and Running: A REAPER User Guide v 4.72
%". >otice that this plug-in
includes an item called
6eecor inpu. This is
where we tell '($P(' that we
want the Po+ level, not the
=ou;ouki level to control when
the compressor kicks in. This
Detector input offers two
basic choices F 2ain /npu
and Au3i-iary /npu.
%%. <e need to ensure that ain
)nput is defined as the media
on the Cubmi+ track
@Channels % and !D, and
$u+iliary )nput is defined as
the stream coming from the Po+ track on Channels 0 and &.
%!. Click on the 4 /n 2 (u button and if they are not already set,
set the assignments as ain )nput N - 'eceive from Channel %,
ain )nput ' - 'eceive from Channel !, $u+iliary )nput N F
'eceive from Channel 0, and $u+iliary )nput & F 'eceive from
Channel &. These are as shown on the right1 most probably these
will be the default settings.
%0. >ow display the 6eecor /npu drop down list and select
Au3i-iary /npu , J R @rightD. This ensures that the
compression will be applied to the instrument mi+ in response to
changes in the volume @strengthD of the incoming signal on
channels 02& 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 @first vertical
faderD downward, so that during Pocal passages the P,
meter peaks above the fader level.
%Q. Clide the Raio fader right until you are satisfied with the
overall amount of reduction on the )nstruments. This will
probably be somewhere between &1% and O1%. Abserve
the flashing red bar to the left of
the Autput P,. This indicates the
amount of reduction that is
occurring on the submi+ track. )n
the e+ample shown, this is F0.R db.
%O. Cave the file.
Chown 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 sGuee;ing
the peaks of instrument mi+ down a little
to make room for the vocal.
+ip: $ Guick way to create a sidechain
from one track to another is to drag and
drop from that track9s )A button directly
to the window of the plug-in on the
receiving track.
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"A - 2ore REAPER Rouing E3a'p-es
"A.7 6oub-e 6uc&ing
This e+ample should only be attempted after you have completed the e+ample in the previous section Audio
6uc&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 F 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('Hs
routing capabilities. The e+ample itself is of secondary importance.
)n the previous e+ample, we used a send from the Po+ track to Channels 0 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 Po+ track send will automatically also be sent to the aster on Channels 0
and &. <e can use this ?ust to smooth out the mi+ a
little.
E3a'p-e
%. Apen the file A-- +#roug# +#e <ig# 6U8H.rpp
and save it as A-- +#roug# +#e <ig# 6(U4,E
6U8H.RPP.
!. )n either the TCP or the CP, select the 2aser
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.
0. Display the F7 )indo% for the aster Track and
insert Rea8o'p.
&. Apen the pin connector window. $s before, make sure that the $u+iliary )nput N is set to Channel 0 and
$u+iliary )nput ' is set to Channel &. These should already be the default settings.
Q. Cet the Raio to around !."
to %.
O. Display the 6eecor /npu
drop down list and select
Au3i-iary /npu , J R.
#. Play the song.
5. 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.
R. ake sure that ,i'i (upu
is selected. $n e+ample of
how your settings might look
is shown here.
%". ThatHs it* Jou can now save
your file.
These last couple of e+amples have introduced you to how you can use sidechaining for ducking. Jou can use
sidechaining in con?unction with a number of other '($P(' plug-ins, including 'ea.ate, 'ea:Comp, 'eaComp
and 'eaFir.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
!RR
Up and Running: A REAPER User Guide v 4.72
"A.B Using V8A for +rac& Vo-u'e 8onro-
PC$ stands for Poltage Controlled $mplification. '($P(' makes available TC PC$ 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 PC$ 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 reGuired F one for a controlling master track, one for each of the slave
tracks it controls. Jou can use '($P('9s native TC1 ,tility PC$ plug-ins, or you might prefer <itti9s more fully
featured variations of these. Jou can download these at sas#.reaper.f'$v$"7?7@$p-ugins.Dip
)n this e+ample we will use '($P('9s native TC plug-ins. The procedure is as follows1
E3a'p-e
%. $dd an empty track to your pro?ect. >ame this track something like V8A Vo- 8onro-.
!. $dd the plug-in 15:Ui-iy$
vca:'aser to the F:
chain for this track. $s you
can see @rightD, this has only
one parameter, Vo-u'e.
0. $dd the plug-in 15:Ui-iy$
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 track9s F: chain.
&. Jou now need to create a send from the Pol Control track to this slave tracks. The easiest way to do this
is simply drag and drop from the /$( button on the Pol Control track to the slave track9s track panel. This
causes a send control window @shown rightD to
appear. ake sure that you select the receiving slave
track9s sidechain channels @shown here, 02&D as the
destination of the send.
Q. 'epeat steps 0 and & for every other track that whose
volume you wish to control with the vcaMmaster plug-
in on the Pol Control track.
O. That9s it* Jou can now use the Polume @d=D fader on
the vcaMmaster 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
5#o% in rac& conro-s. This will allow you to ad?ust
the parameter9s level without the F: window needing
to be open @see rightD.
#. )f you wish also to display the track parameter control
in the mi+er panel, simply enable 5#o% F7
para'eers %#en siDe per'is from the i+er9s
conte+t menu. For more information about this, see
Chapter %".
5. >ote also that the PC$ master9s Polume @d=D control can be assigned an automation envelope if you
wish. For more information about automation envelopes see Chapter %O.
<oe: +#e )ii V8A p-ugins
The <itti PC$ controls plugins are similar to '($P('9s native TC versions, the main difference being the addition
of drop down lists to enable you to easily select which paired channels are to be used for the sends and
receives. =y using different permutations of send and receive channels, you are able to set up multiple instances
of the PC$ master control plug-in. These can be used independently of each other to control the volume on
different track selections.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
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"A - 2ore REAPER Rouing E3a'p-es
"A.C Rea5a'p-o'aic and Rea6ru's
This e+ample uses the Rea5a'p-o'aic plug-in provided with '($P(' in con?unction with the Rea6ru's
track template created by 9a'eser. Jou can download this template from the '($P(' Ctash on the '($P('
web site. To check the current address for this, visit the '($P(' Forum and check ?amester9s signature, or do a
search. $fter downloading, it should be copied into your Track Templates folder. For :P users, this is
8:G6ocu'ens and 5eingsGUser <a'eGApp-icaion 6aaGREAPERG+rac&+e'p-aes
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 2/6/ Edior for demonstration purposes, but if you have a keyboard, you can use that instead.
E3a'p-e
%. Create a new empty pro?ect file and save it as Rea6ru's E3a'p-e.RPP
!. 'ight click over the Track Panel $rea and from the menu choose /nser rac& fro' e'p-ae then your
Rea6ru's template. >otice that a track will be inserted, with eight individual named instances of
Rea5a'p-('aicA!!! inserted in its F: chain.
0. >otice that each instance of Rea5a'p-('aicA!!! is set up differently. From top to bottom, these are
Bick, Cnare, Perc %, Perc !, Perc 0, Perc &, LL Cl, LL Ap. >ear the bottom left corner you can select a )D)
channel for each sample. The default is ", which means all channels. Chown here is the Cnare, which has
been set to use channel %. )n this illustration, an audio sample has also been inserted. That9s the ne+t step*
&. Display the edia (+plorer F 8r- A- 7 F and select a folder where your samples are stored.
Q. )n the 'eaDrums F: window select the item Bick. From '($P('9s edia (+plorer window you can drag
with your mouse the reGuired sample file and drop it into the 'eaCamp window, in the black area above the
=rowse button.
$lternatively, you
can either use
the plug-in9s
4ro%se button
to make your
selection, or
select any
e+isting item in
$rrange view
and click on
/'por ie'
fro' arrange.
$nother option is
to click on the
V-isW 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 'C
values.
O. >ow repeat this
process in the
other seven
'eaCamp
instances, one
at a time, for
each of the
other seven
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0"%
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instruments, each time inserting a different appropriate sample. )f you wish, rename any of the 'eaCampl-
AmaticQ""" instances to reflect the sample name.
#. >otice that each instance of 'eaCamplAmaticQ""" uses different <oe sar and <oe end settings. This
makes allows the notes @and any other eventsD for the different instruments to share a single )D) item.
5. ake sure the 'eaDrums track is not record armed. Cave the file.
R. $long the timeline select the first %" seconds or so. <ith your 'eaDrums track selected, choose the
/nser> <e% 2/6/ /e' command to insert a )D) item.
%". Double click on this item to open the )D) (ditor. From the menu choose Vie%> Piano Ro-- <oes>
+riang-e and Vie%> 2ode> <a'ed noes. )f necessary, scroll up or down to display your samples. F or
each sample, its row number will correspond to its 'eaCamplAmaticQ""" note start2end setting. For
e+ample, in this case the snare @shown aboveD will be row 0#.
%%. Compose a few notes, similar to the concept shown below. Don9t copy this pattern, make a simple
composition of your own.
%%. Close the )D)
(ditor and save
your file.
%!. )f you wish, you
can also use
'($P('Hs
channel routing
to send
different parts
to different
tracks, where
you can add
F:, ad?ust
panning,
volume, etc.
NetHs suppose
we wish to
apply some F:
to the kick and
the snare individually. 'ight click over the Polume fader for the 'eaDrums track and set the number of
channels to four. <eHll start with ?ust one or two.
%0. Press 8r- + twice to add two more tracks. >ame the first of these tracks Hic&, the second 5nare.
%&. )n the Rea6ru's track set the number of Channels to &, and create a send to the new Hic& +rac&
@using channel 0D and the 5nare +rac& @using channel &D.
%Q. Apen the F7 )indo% for the Rea6ru's track.
%O. Celect the first Rea5a'p-o'aicA!!! instance, the Hic&. Cet both of its PCT Auts to Channel 0.
%#. Celect the 5nare Rea5a'p-o'aicA!!! instance and set both of its PCT Autputs to Channel &.
%5. >ow play the music. >otice that the Bick and the Cnare have been rerouted to their respective tracks.
Jou could now place any F: that you wish in the F: windows for those tracks.
%R. Cave 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 Rea6ru'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.
Rea5a'p-('aicA!!! 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+ample1
(ach instance of 'eaCamplAmaticQ""" has its own independent set of controls @volume, pan, pitch bend,
attack, sustain, release, decay, etcD.
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0"!
"A - 2ore REAPER Rouing E3a'p-es
Changes made to the attack, delay, sustain and or release settings will be represented on the graph
@envelopeD that is superimposed on the sample waveform in the 'eaCamplAmaticQ""" window.
The 2a3 Voices rotary can be used to select any number between % and %O. Lowever, if you need more
than %O you can type in any number up to %!5. This, for e+ample, allows 'eaCamplAmaticQ""" 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 and2or control them using
parameter modulation. These topics are e+plained in Chapters %O and %#.
'easamplomaticQ""" can be challenging for ine+perienced users and reGuires a sound general understanding of
)D) and sampling concepts. $nother e+ample follows below. For more information about the various
'easamplomaticQ""" parameters and controls, see the free '($P(' (ffects .uide, available at
#p:$$%%%.coc&os.co'$Kg-aDfo-&$ReaEffecsGuide.pdf
"A."! Round-Robin 2u-isa'p-ing
The round-robin option can be used in con?unction with the probability setting to determine whether any given
instance will produce a sound from any given note. For e+ample, at %""K it will play every note. $t Q"K it will
ignore every other
note. This can be used
to introduce variation
into your sampled
sounds. Consider an
e+ample where you
use a separate track for
each percussion
instrument F kick,
snare, etc.
Chown here is a simple
arrangement for the
snare track, with two
instances of
'eaCampllAmaticQ""",
each containing a
separate and subtly
different snare sample.
For both instances
round-robin and
Re'ove p-ayed
noes fro' F7 c#ain
2/6/ srea' have
been enabled. For
Cnare % probability is
set to Q"K, for Cnare!
%""K. This ensures
that during playback
each of the two
instances @and
therefore two samplesD will be used alternately, in rotation. )f in this e+ample you had three samples rather than
two, probabilities would be set at 00K @% in 0D, Q"K @% in !D and %""K @% in %D respectively. Four four samples,
these settings would be !QK @% in &D, 00K @% in 0D, Q"K @% in !D and %""K @% in %D, and so on.
ore comple+ variations are possible. For e+ample, a TC1 )D)2midiMchoke plug-in is available which can be
used in con?unction with 'eaCamplAmaticQ""" to help control whether any sound will be produced from a given
note. $n e+ample showing how this can be used can be seen here1
#p:$$foru'.coc&os.co'$s#o%pos.p#pXp["27B@BA]poscoun[2B
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0"0
Up and Running: A REAPER User Guide v 4.72
"A."" 2u-i (upu V5+i P-ug-ins
Jou may well use these functions to set up multi output PCTis only once or twice but itHs well worth taking the
time and trouble. This will give you a much better understanding of the inner workings of '($P(' compared
with downloading a track template.
E3a'p-e ": Paired Audio +rac&s
%. 'ight click over the empty area of the Track Control Panel and from the menu choose /nser virua-
insru'en on ne% rac&=
!. <hen the F: browser window is shown,
double-click on the reGuired instrument. This
e+ample uses the 5-output version of
GriDD-y @& stereo channelsD. Jou could use
any multi output instrument that you wish.
0. Jou will be asked to confirm whether you
want the appropriate number of tracks built
for the particular instrument that you have
chosen @see rightD.
&. Click on .es.
Q. '($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.
O. Jou now have a
single )D)
input track for
the PCTi together with four output audio tracks. >otice that in this e+ample1
Channels %2! from Track % are directed to Track !, Channels 02& to Track 0, Channels Q2O to Track &
and Channels #25 to Track Q.
>o output is sent directly from Track %
to the aster.
0. Jou9re now ready to load your
instruments @in this e+ample, select a
drum kitD and to start playing.
E3a'p-e 2: 5eparae 2/6/ +rac&s
)f you want a separate )D) track for each
PCTi output channel, you should use this
method. $gain, for the sake of the e+ercise,
we9ll use .ri;;ly, but you would use the same
method for any other multi-output synth.
%. Create a new track and name it. Apen the
trackHs F: window and add the reGuired
PCTi to the trackHs F: chain.
!. From the F: chain (pions menu choose
the command 4ui-d "? c#anne-s of
2/6/ rouing o #is rac&.
0. Jou now have a separate )D) track for each channel. The )D) output of each of these %O tracks is sent
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"A - 2ore REAPER Rouing E3a'p-es
to the track on which you originally inserted the PCTi.
Jou have a number of options for assisting you with managing this set of tracks. For e+ample, you can put the
)D) Tracks in one folder, name the folder, color the tracks and hide them in the i+er.
To enable keyboard input for the individual )D) tracks1
ake sure that the PCTi track is not armed for recording.
Celect all %O )D) tracks.
'ight-click the 'ecord $rm button and turn )nput onitoring button on for all %O tracks.
For each track, set the )D) input channel, from % to %O.
"A."2 Para--e- F7 Processing %i# #e 8#anne- 2i3ers
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 techniGue, 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.
Jou9ll be using the /7 $ 2i3er B32-"35 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. $fter working thru it, you should be capable of using it for your own
pro?ects.
E3a'p-e
)n this e+ample, we will send output from one instrumental track separately to a Distortion F: and a 'everb F:,
then mi+ the wet and dry signals back together, panning as reGuired F all within one single track and without
using any busses. To do this, weHll use the /7 2i3er B32 together with a couple of other plug-ins supplied with
'($P('. The diagram above illustrates conceptually what we are going to achieve1
<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 seGuentially.
%. Apen the file A-- +#roug#
+#e <ig#.RPP and save
it as A-- +#roug# +#e
<ig# /7 2/7.rpp
!. For the purpose of this
e+ample, we are going to
work on only the
4ouDou&i track. Colo this
track.
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Up and Running: A REAPER User Guide v 4.72
0. Apen the /( window for the 4ouDou&i track. Cet the number of track channels to ? then close this
window.
&. Apen the F: window for this track. )f any F: are already there, remove them.
Q. )nsert the F: 15: Guiar 6isorion. To start with, make the various control settings similar to that
shown here @but see note below*D.
<oe: )n this case, at step Q @aboveD 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 0 and & until later, when you add the channel mi+er to the F: chain.
O. ake sure that input is from Channels % and ! only and output is to Channels 0 and & only, as shown
above.
#. >ow add ReaVerbae to the F:
Chain for the =ou;ouki.
5. Celect a preset of your choice,
ad?ust wet2dry levels as you wish,
then set the Autput to Channels Q2O
as shown right.
R. >ow insert the 15:
/7$2i3er:B32-"35 at the end of
the =ou;ouki track9s 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. Ane suggested
possible outcome is shown below.
%%. ,nsolo the =ou;ouki track. Nower
the track fader to blend it back into the mi+. Cave the file when finished.
Af course, this
is only a simple
e+ample. Jou
could in effect
have up to four
separate F:
chains running
in parallel within
this track. $nd
itHs very easy
then to move an
F: from one
chain to
another, ?ust by
changing its
output
channels.
The /7 series of
Tesusonic plug-
ins have been
developed by
Philip C.
Considine. $ big
thank you to
Philip for his
help in developing this e+ample.
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"A."@ 2ore Para--e- F7 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. Jou could for e+ample, add more
plug-ins to your chains, and2or use more than O channels. $ll three streams then get mi+ed back together using
the Channel i+er Plug-in.
Channels % and !1 Dry F the original signal, unprocessed.
Channels 0 and &1 Distortion then Compression.
Channels Q and O1 (E then 'everb.
"A."4 8#anne- 5p-iing and Para--e- Processing %i# /e' F7
The e+amples used in this chapter have all involved working with plug-ins within track F: chains. Don9t forget,
however, that any individual media item can also contain its own F: chain, specifically assigned to that media
item. Per item F: are e+plained fully in Chapter Q1 in brief, however, you can select any media item and press
5#if E to create an F: chain for that item. Provided the track that contains the media item has been assigned
the necessary number of channels, channel splitting and parallel processing of F: can be applied to individual
media items in e+actly the same way as e+plained throughout this chapter.
"A."A (#er 8#anne- Rouing P-ug-ins E(vervie%F
The list of Tesusonic and Cockos plug-ins for '($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. Jou should always check the web sites and the forums for the latest information. This section
introduces you to some other plug-ins @not used in these e+amplesD 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 C. Considine.
Abviously, these plug-ins should only be used on tracks which have more than one defined pair of channels.
P-ug-in 6escripion
/7 5%ic#er This is a channel switching utility. The Autput Cource parameter is
used to select which one of up to four paired inputs channel is to be
monitored. ,seful for $2= comparisons.
/7 5%ic#er 2 This is a variation of the Cwitcher switching utility. The Autput Cource
parameter is used to select which one of up to four paired inputs
channel is to be monitored, and the Nevel faders allow you to ad?ust
the gain independently for each pair. ,seful for $2= comparisons.
/7 5%ic#2ic# 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 Aff, $,
=, or $W=.
/7 P#aseAd9usingRouer 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. Anly the selected output channels will
be modified so, for e+ample, a signal received from inputs %W! and
output on 0W& 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 Neft Channel Anly,
)nvert 'ight Channel Anly or )nvert =oth Channels.
The output parameter selects the output channels.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
0"#
Up and Running: A REAPER User Guide v 4.72
"A."? REAPERNs Rouing /nerface
)f you are using multiple track channels, sends
and receives @as do many of the e+amples in this
sectionD, then you should consider keeping the
'outing atri+ in view. Jou can use your routing
matri+ to make ad?ustments to any of your sends
and receives, or to specify the number of channels
reGuired for any track. Come e+amples are
summarised below.
'ight click over any track name @as shown above
rightD to display the TrackHs 'outing <indow and
change the number of Track Channels, or to
ad?ust the parameters of any Cend or 'eceive
associated with that track.
'ight click over the Cend2'eceive signal at any
intersection on the 'outing atri+ to ad?ust any of the parameters for that Cend or 'eceive @as shown below
rightD.
Click over any vacant intersection on the 'outing
atri+ to create a Cend2'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 trackHs /( button to display that trackHs
'outing <indow, or right-click over the /(
button and use the fly out menu to easily add a
Cend or 'eceive.
+ip: Cends can be copied in the 'outing atri+
from one track to another. For e+ample, if you
have created a send from @sayD track % to @sayD
an effects bus on @sayD track O, 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. $s shown, from top to bottom these are Pre Fader EPos F7F, Pos
Fader EPos PanF, and Pre F7. )n each case, the height of the large thick bar indicates the send
volume level. The flow charts in Chapter Q will help you to understand the differences between these.
"A."7 2u-ic#anne- +rac& VU 2eers
<hen a track consists of more than ! channels, you can choose whether to
have all channels or only channels % and ! displayed in the track9s P,
meter @track panel and mi+er panelD. 'ight-click over the track9s P, meter
then choose the command +rac& VU 'eer to access the toggle
command 5#o% fu-- 'u-ic#anne- 'eering Eno 9us c#anne-s "J2F.
)n the e+ample shown here, this option has been disabled for the first of
the tracks shown and enabled for the second.
This action is also available from '($P('9s main menu, using the +rac&,
2u-ic#anne- +rac& 2eering command.
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"A."B 5urround Panning %i# Rea5urround
Curround 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?ect1
you can also consult various web resources, such as 6The 'ecording $cademy9s Producers and (ngineers <ing
'ecommendations for Curround Cound Production7 @available as free PDF downloadD.
'($P('9s surround sound production capabilities can be found in three main areas1
%. The ability to record in multichannel format. The method for doing this is e+plained in Chapter 0.
!. '($P('9s channel routing capabilities.
0. The 'eaCurround surround panner.
Thus, the '($P('-specific issues that you need to be aware of for surround sound
production are1
Recording
'ecord each track using the settings most suitable for that track. For e+ample, for a lead
vocal you might use a two channel track with a single mono input @one micD. 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.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
0"R
Up and Running: A REAPER User Guide v 4.72
Rouing
'($P(' offers you various routing options. For e+ample,
you can insert 'eaCurround into each track individually, with
each track directly routed to the aster. $nother option is to
create sends from all tracks to a single Curround i+ing =us
and use a single instance of 'eaCurround there, disabling
direct sends from individual tracks to the aster. The former
method gives you greater fle+ibility and more control.
Jou 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 Q.% surround sound is shown here @rightD.
Rea5urround
'eaCurround, like any other plug-in, can be inserted into a
track9s F: chain from the F: =rowser. Lere we are assuming
that you are opting for the method of inserting
'eaCurround into every track. >ote that1
Jou should place 'eaCurround in the track9s F: chain.
Aften you will want this to be at the end of the chain.
Lowever, 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 'eaCurround.
$fter inserting 'eaCurround, select one of the options
from the setup drop down list @above leftD. Celect 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, Q.% surround is selected, so the track is
allocated si+ channels.
)n the e+ample shown below @ne+t pageD, a track with two channels and a mono media item @Po+ i+D
displays two channel inputs, each with its own fader@which can be set to .ain or NF(D as well as solo and
mute controls. Double-click on any input to rename it.
=ecause Q.% surround has been selected, there are si+
channel outputs. >otice that these can be soloed
and2or muted in any combination. (ach also has its
own fader1 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
reGuired. 'efer back thru this chapter for numerous
e+amples of selecting F: pin connectors.
Jou should also insert 'eaCurround 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 'eaCurround window.
The three Edi drop down lists and their accompanying rotaries can be used as
controls with any three of the available items shown @rightD. These include
Neft2'ight, =ack2Front, Now2Ligh, =ack Neft2Front 'ight, Front Neft2 =ack 'ight,
(+pand2Contract, 'otate, NF( Cend, Diffusion Nevel and Diffusion =ias. There is
also an option to ,oc& inpu c#anne- posiions and -eve-s.
The three hori;ontal 5pace 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.
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"A - 2ore REAPER Rouing E3a'p-es
The various /npus and (upus controls can be used to mute, solo and or ad?ust the levels for .ain or Now
FreGuency (ffects
@inputsD or .ain or
)nfluence @AutputsD.
)n the e+ample
shown here, the
Curround Panner has
been inserted into a
6normal7 two channel
track with a mono
recorded media item.
The Curround Panner
therefore finds F and
displays F only two
inputs this time.
=ecause Q.% surround
has been selected as
the surround mode,
the input from the
two channels can be
directed to the si+
channels shown.
Cee also Chapter %5,
'endering in
Curround Format.
"A."C Rouing o$fro' (#er App-icaions %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('.
<e9re 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 @!.OD. 'e<ire is a technology ?ointly
developed by Propellerhead Coftware and Cteinberg 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 AC :. <indows users need to make
sure when installing '($P(' that they have 'e<ire selected and enabled on the 8#oose co'ponens page of
'($P('9s )nstall wi;ard under Addiiona- funciona-iy.
)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
seGuencing 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+ 'eason9s output into its own effects chains.
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'e<ire can be used with any track@sD
within a '($P(' pro?ect. Display the
track9s F: chain and select 'e<ire from
the list of plug-in categories @left columnD.
This will display @in the right columnD a list
of all 'e<ire enabled applications that
have been installed on your computer.
Celect the application @6slave7D that you
wish to use F for e+ample, this might be
'e<ire $bleton Nive, 'ewire 'eason or @as
in the e+ample shown hereD 'e<ire
FNCtudio.
)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.
Celecting your 'e<ire enabled application
will cause the application to be opened.
Jou can use 'e<ire to send )D) data to
the slave application @as shown in the
e+ample aboveD, 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. Lowever, there is an option in '($P('9s
'e<ire window to allow the slave application to set the tempo.
<oe: '($P(' can be opened in slave mode from the <indows Ctart, $ll Programs menu, or by first opening
the host application and by selecting '($P(' as the slave application there. Jou can also @in both AC: and
<indowsD '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 9
%i&i.coc&os.co'$%i&i$inde3.p#p$Re)ire
"A.2! /nroducing ReaRoue
'ea'oute is a feature uniGue to '($P(' that offers you other ways of sharing data @audio and )D)D in real
time with other applications. 'ea'oute is covered in detail in its own chapter, Chapter !%.
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"? - Auo'aion %i# Enve-opes
"? Auo'aion %i# Enve-opes
"?." Undersanding Auo'aion
$utomation is used to ensure that when your tracks are played, recorded changes in such things as volume
level or panning can be recalled with the music in real time. $t its simplest, for e+ample, automation can lift the
volume of a lead instrument during a particular break or passage, or add a little presence or warmth to the odd
phrase here or there on a vocal track, to make it stand out in the mi+ a touch more.
$n e+ample of a simple envelope @for PolumeD 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 @belowD 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 Cettings.
'($P(' features two main types of automation F one method uses envelopes alone, whilst the other uses a
rather more comple+ @and powerfulD techniGue known as parameter modulation. This chapter will deal with
creating and using envelopes. Parameter modulation will be covered in Chapter %#.
"?.2 Auo'aion Enve-ope 2e#ods
'($P('9s 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.
)riing Auo'aion: <hen writing automation, you instruct '($P(' to remember your actions F such
as fading a volume control up and down F 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 F write, touch and
latch. <eHll get round to e+plaining the
differences shortly.
2anua--y 8reaing 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. Jou 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. Trim2'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 Trim2'ead mode.
<hichever mode is currently selected is displayed on a track9s envelope button. <e9ll e+plore the different
automation modes in detail in the sections that follow. =oth have their advantages and you can use any
combination of modes on different tracks in your pro?ect. <ith both recorded and manual envelope automation,
it is perfectly possible @and Guite easyD to edit the automation instructions afterwards, or to remove them
altogether if thatHs what you want to do.
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"?.@ +#e +rac& Enve-opes )indo%
$ny trackHs envelopes can be managed from the
Enve-opes )indo% for that track. This is opened by
clicking on the trackHs Enve-ope button in either the
TCP or CP. Jou can use this window, for e+ample to1
Cet the Auo'aion 'ode for the track.
Create an envelope @e.g. for Polume, Pan or
ute for a track or sendD.
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 trackHs 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-inHs name you can open
up a list of plug-in parameters for which you can also create envelopes. <eHll see some e+amples of this soon.
Checking the option to 5#o% -as ouc#ed F7 para'eers on-y can help prevent screen clutter.
"?.4 Avai-ab-e +rac& and 5end 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 6escripion
Vo-u'e $d?usts the volume of the TrackHs Autput, 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.
Pan oves the balance pan control more towards the left, right, or dead center1 the
signal that is sent post F: from the track to the aster Track.
)id# oves the width control more towards the left, right, or dead center1 the signal that
is sent post F: from the track to the aster Track.
Vo-u'e EPre F7F $d?usts the volume of the track signal that is fed to the trackHs F: chain. This is
generally eGuivalent to the .ain control that you can find on some desks and mi+ers.
Pan EPre F7F Cimilar to Pan control but before track F: or track faders are applied.
)id# EPre F7F Cimilar to <idth control but before track F: or track faders are applied.
2ue This envelope has effectively only two states F An and Aff. )t is used to mute
passages of a track.
5end Vo-u'e $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 Cend itself is defined as
Post Fader @Post PanD, Post F: or Pre F:.
5end Pan $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 Cend itself is defined as
Post Fader @Post PanD, Post F: or Pre F:.
5end 2ue This envelope has effectively only two states F An and Aff. )t is used to mute
passages on a send.
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"? - Auo'aion %i# Enve-opes
"?.A )riing Auo'aion
To create automation envelopes using the )rie feature,
use this method1
)n the CP or TCP, click on the Enve-opes button
@shown rightD 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.
Celect the item you wish to automate, and make sure
to also select the options Visib-e and Ar'.
Cet $utomation mode to )rie.
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. Ctop play when finished.
'ight click over the (nvelope button for that track and
select +ri'$Read or Read.
Play the song. Nisten 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 track9s envelope button
and make your choices from the conte+t menu @see rightD.
+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.
Auo'aion )rie E3a'p-e
%. Apen your file A-- +#roug# +#e <ig#.RPP. Cave 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 4ouDou&i track. This isnHt absolutely necessary, but makes
it easier to see what you are doing.
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0. )nsert the 151 Ui-iy$,i'ier plug-in to the master track and set its threshold to O2.!. 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$Auo'aion button for the 4ouDou&i track. Celect Vo-u'e and make it
both Visib-e and Ar'ed. Celect the automation mode )rie for this track @see aboveD.
Q. Close the (nvelopes window. >otice that the Polume fader for this track is now colored red and a Polume
envelope has been created. The (nvelope button now reads )rie.
O. Play the song from about the &5 sec mark for about %Q seconds.
#. $s the instrumental break starts, use your mouse to raise the track fader for the =ou;ouki volume @not
the envelope volume faderD by about a three decibels. Lold it there, then at the end of the instrumental
break lower the fader to its original position. Ctop play.
5. 'ight click over the (nvelope button for the =ou;ouki track and choose Auo'aion 2ode: Read from
the conte+t menu. Soom closely into the part of the song that goes from about &Q secs to about OQ secs.
R. The fader area
for the Polume
control from this
track will now be
green, and your
automation
envelope should
be clearly visible
@see rightD.
%". 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. Cave this file.
<oe: Jou do not need to select $utomation 'ead mode in order for the automation to take effect. Trim2'ead
for e+ample mode will also do this, but without moving the faders. That9s because during Trim2'ead mode you
might wish to make manual ad?ustments yourself, using the faders. JouHll find a more detailed e+planation of
the various automation modes later in this chapter.
2odifying #e Enve-ope
)tHs very likely that you wonHt get the e+act settings for your automated faders %""K 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 Poins (pions
'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 (pions menu @Enve-ope poins commandD.
The option to 2ove enve-ope poins %i# 'edia
ie'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-ecion
fo--o%s i'e se-ecion. This enables you to move all
points within a time selection by clicking and dragging
on any one of them. )f you want to move only one
point @or a selection of pointsD within a time selection,
make sure that this option is disabled.
Edge poins can be used to make it visually easier for you when you are moving a group of points within a
time selection1 enable Add edge poins %#en 'oving enve-ope poins, make the time selection, choose
5e-ec a-- poins in i'e se-ecion, then click and drag @left or rightD any envelope point within the selection.
The option to Reduce enve-ope poin daa %#en recording or dra%ing auo'aion 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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0%O
"? - Auo'aion %i# Enve-opes
+o reduce #e nu'ber of poins on an e3ising enve-ope #a #as a-ready been recorded:
%. Celect @click onD the envelope.
!. Define the reGuired time selection. $ll envelope points in
that selection will be selected.
0. 'ight-click over the envelope.
&. From the menu, choose Reduce <u'ber of Poins.
Q. Celect @probablyD Poins in i'e se-ecion on-y or
@possiblyD A-- Poins.
O. $d?ust the fader until the number of points shown looks
about right. $n e+ample is shown on the right.
#. Click on (H.
"?.7 )riing 2ue Auo'aion
Ane rather special way of using automation is in
con?unction with a trackHs 2ue button to automatically
mute unwanted passages of a track. The procedure for
doing this is outlined below1
Click on the trackHs Enve-opes$Auo'aion
button to display the envelopes window.
Celect the 2ue envelope and set the mode to )rie. Then close the (nvelopes window.
The (nvelopes2$utomation button will read )rie and the armed mute button will be highlighted in red.
>otice @aboveD how this is displayed when set to this mode.
>ow play the track. $s you do so, click on the trackHs ute button at the start and end of any passages
that you reGuire to be muted.
<hen finished, stop the playback. $utomation mode for this track should automatically change to
Trim2'ead @unless this default setting has been changed in your (diting =ehavior, $utomation
preferencesD.
)n the e+ample shown below, a vocal track is muted when it is not intended to be heard. Read mode has been
selected.
<hen the
track is
played
back, the
color of the
ute button
changes for
the duration of the muted passages.
"?.B Auo'aion 2odes
$utomation mode can be set as already shown from inside the (nvelopes2$utomation window or by right-
clicking on the track envelopes2automation button. )n fact, there are a number of ways that this can be done1
Celect the reGuired mode from the (nvelopes window.
'ight-click on the (nvelopes2$utomation button and select the reGuired mode from the conte+t menu.
)n the TCP, right click over any automation lane and select the reGuired mode from the conte+t menu.
From the main menu, choose +rac&> 5e rac& auo'aion 'ode @or right-click over the track
number and select this from the conte+t menuD.
The following table summari;es the five available automation modes.
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Auo'aion 2ode 6escripion
+ri'$Read (+isting envelopes are applied, but on-screen controls do not move. Trim2'ead mode
might seem strange at first, but it does bring you a useful benefit. Jou can use a
trackHs controls for overall changes.
)n Trim2'ead mode fader movements are not recorded. For e+ample, ad?usting a trackHs
Polume fader in this mode will raise or lower the volume for the whole track relative to
the envelope.
Read $pplies envelopes and moves controls for armed items, but does not write or remember
any changes that you make to them.
,ac# <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.
+ouc# This is similar to Natch, 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 Natch mode.
)rie <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('9s $utomation preferences
include an option to automatically switch to another mode immediately after recording
automation in <rite mode. =y default, it will switch to Trim2'ead.
>ote that when you are in Natch, Touch or <rite mode, an envelope can also be armed by clicking on the Ar'
Record button in its automation lane @where one e+istsD. 'emember also after using <rite, Natch or Touch
mode to change to 'ead or Trim2'ead mode, to prevent further automation from being accidentally recorded.
"?.C G-oba- Auo'aion (verride
The .lobal $utomation Averride 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 are1
To toggle bypass on2off for all envelopes.
To select a single automation mode @such as
Trim2'ead or 'eadD 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- 8onro-s
The envelope panel9s hori;ontal fader is used to write
automation @write, latch or touch modesD, show
automation changes @read modeD or ad?ust the parameter
value for the entire track or selected envelope segment
@trim2read modeD. <hen a track has other envelopes that
are not displayed in lanes, you can click on the envelope name @in the e+ample shown this is PolumeD and
choose from the list a different envelope to display in its place.
Ather standard controls are the 4ypass toggle button and ne+t to that the *ide$8-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 @see later in this chapter and Chapter %#D.
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0%5
"? - Auo'aion %i# Enve-opes
"?."" 2anua--y Ad9using 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 are1
5#if 8-ic& for adding points to an envelope.
8r- 8-ic& 6rag for freehand drawing of envelope points and curves.
8-ic& 6rag for moving envelope segments freely up or down or envelope points in any direction.
The first of these actions is e+ecuted by holding 5#if while clicking on the envelope, the third by simply
clicking. These can be swapped in your ouse odifier @(nvelope segmentD preferences if you wish. )n this
e+ample, we will assume that 8-ic& 6rag is used to ad?ust segments, and 5#if 8-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. Jou 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.
E3a'p-e
%. Lover your mouse over the envelope, ?ust before the start of
the second instrumental break. This will be at or near % min
0O seconds. The mouse will change to a vertical double-
headed black arrow.
!. Lold 5#if while you click the mouse on the envelope to
create a point.
0. 'epeat this three times as shown @rightD, 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.
Q. Cave this file.
O. Display the track9s (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.
5. >otice that the =ou;ouki volume will now be faded up for both instrumental passages in this song and
down after them.
R. >ow select the Vo3 track and press V
to display the Polume envelope for
this track. Soom to the passage from
about % min " sec to % min %R secs.
<e are going to make this passage a
little louder.
%". Lover the mouse ?ust above the
envelope at %1"". Lold down the 8r-
key. The mouse cursor will change to a pencil. Ctill holding 8r- drag the mouse along to about the %1%R
mark @see above rightD then release the mouse. The volume envelope will have been drawn by this
action.
%%. 'emember that any e+cessive points that have been inserted by this action can be removed @as in the
earlier e+erciseD using the Reduce nu'ber of poins command.
%!. Cave the file.
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Up and Running: A REAPER User Guide v 4.72
"?."2 Using #e 2ouse %i# Enve-opes
The above e+ercise has introduced you to some e+amples, but there are many other techniGues and mouse
tricks that can be used for manipulating and managing envelopes and their nodes. This table is a summary of
the most important. For a fully comprehensive list, consult the ouse odifiers page of your Preferences.
/n order o do #is ... =.you need o do #is
5e-ec a-- poins on enve-ope inside i'e
se-ecion.
8-ic& and drag in envelope lane @not on envelope
itselfD to create time selection.
6ra% and s#ape enve-ope in free#and 'ode. 8r- 6rag anywhere on, above or below the envelope
Add a poin. 5#if 8-ic& on envelope
6e-ee enve-ope poin. A- 8-ic& on any envelope point
5e-ec 'u-ip-e enve-ope poins. Lold 8r- while clicking on envelope points one at a
time
5e-ec a-- poins in an enve-ope. 8-ic& on any point in an envelope, then press Ctrl $
5e-ec a-- poins %i#in #e -asso area. 8-ic& on a point, then use the 'ight-Click-Drag mouse
method to lasso @'arIueeD a portion of an envelope.
'elease mouse
App-y an enve-ope co''and o a se-ecion of
poins.
<hen you have several points selected, rig# c-ic&
over any selected point
2ove a poin or se-ecion of poins free-y. 8-ic& and drag any point in the selection.
Fine-y ad9us a poin;s verica- posiion. 8r- A- 6rag on any envelope point
A--o% an enve-ope poin o be 'oved
verica--y or #oriDona--y on-y.
8-ic& and hold 'ouse on any envelope point, hold
both the 8r- and 5#if keys while then dragging
any envelope point either vertically or hori;ontally.
Rese poin o cener Edefau- va-ueF. 6oub-e-c-ic& on envelope point
ost of these defaults can be changed in your Ediing 4e#avior> 2ouse 2odifiers preferences settings.
"?."@ Enve-ope Edi 2ouse 2odifiers
This probably won9t be the very first thing you9ll 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 reGuirements. There are several
conte+ts relevant here F (nvelope lane @left clickD ,
(nvelope segment @left dragD, (nvelope point @left dragD,
(nvelope segment @double-clickD and (nvelope point
@double-clickD.
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 (nvelope1 )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 envelope9s control panel will cause all points on the envelope to be
selected. This too can be changed. There9s more about mouse modifiers in Chapter %0.
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"? - Auo'aion %i# Enve-opes
"?."4 2anaging Auo'aion Enve-ope 6isp-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 to1
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
Lide all automation envelopes.
)n the e+ample shown here, a track
is displaying three envelopes. F one
each for Pan, Track Polume and the
volume of a send to a reverb track.
Ane of these F Pan F is displayed
on top of the actual media items.
The other two each have their own
lanes. The Peaks2<aveforms
preferences option to 6ra% fain
pea&s in auo'aion enve-ope
-anes has been enabled. The
summary table e+plains how you use these options.
Jou should also check the preference @(diting =ehavior, $utomationD )#en
adding vo-u'e$pan enve-opes> app-y ri' o enve-ope and rese
ri'. Jour 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
adeGuate room both above and below the envelope for manual editing.
/n order o do #is = = you need o do #is
*ide an individua- enve-ope 'ight click over the envelope and choose *ide Enve-ope from
the menu, or I
)n the envelope panel, click on the *ide$8-ear button and
choose *ide Enve-ope.
6isp-ay a curren-y #idden enve-ope Click on the Enve-opes$Auo'aion button in the TCP and
check the Visib-e bo+ for that envelope.
8#ange #e enve-ope disp-ayed in a
paricu-ar -ane
)n the TCP, right click over the envelope name and choose
another parameter from the list.
2ove an enve-ope fro' is o%n -ane
o over #e 'edia ie'EsF
'ight click over the envelope and disable the 5#o% enve-ope
in -ane option, or I
Click on the *ide$8-ear button in the envelope panel and
choose 2ove o 'edia -ane.
2ove an enve-ope fro' over #e
'edia ie' o is o%n -ane
'ight click over the envelope and enable the 5#o% enve-ope
in -ane option
5#o% a-- visib-e enve-opes in
individua- -anes
)n the TCP, right click over the envelope button and choose
5#o% a-- visib-e rac& enve-opes o enve-ope -anes from
the menu.
5#o% a-- visib-e enve-opes over #eir
'edia ie'EsF
)n the TCP, right click on the envelope button and choose
5#o% a-- visib-e rac& enve-opes o 'edia -ane from the
menu.
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/n order o do #is = = you need o do #is
5#o% a-- acive enve-opes )n the TCP, right click over the envelope button and choose
5#o% a-- acive rac& enve-opes, or I
Apen the Enve-opes$Auo'aion %indo% and click on
5#o% a-- acive.
*ide a-- enve-opes )n the TCP, right click over the envelope button and choose
*ide a-- rac& enve-opes, or I
Apen the Enve-opes$Auo'aion %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. Jou 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. Lowever, it actually contains only three
active envelopes, one each for Polume, Pan, and
Track O Cend Polume. Af these, we have chosen
to make only the first three visible.
)f we were to add some plug-ins @such as Delay,
(E or compressionD to this track we would
immediately create more potential envelopes.
"?."A +#e Enve-ope Pane- 8onro-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+ample1
)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 envelope9s fader
control left would cause panning for the entire
track to be moved further to the left @maintaining
the relative movement between e+isting pointsD. )f
a time selection is active, then the envelope would
be ad?usted only within that time selection.
,se the 4P button to toggle bypass on and off.
'ight clicking over the envelope name in the TCP
produces a menu which includes the following1
$ list of all available envelopes for this track
@standard track and send parameters plus any F:
parametersD. Choose one of these to change the
envelope displayed in this lane.
Parious show2hide envelope options.
$ list of automation modes1 this is one way to change a track9s automation mode.
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"? - Auo'aion %i# Enve-opes
"?."? 2anaging and 2anipu-aing Enve-opes
The (nvelope Point and (nvelope Cegment 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 @PF.
8o''and E3p-anaion
5e poin va-ue = EPF Displays the 5e
Enve-ope Poin
Va-ue dialog bo+.
Can be used to
changes the value,
position, and2or
shape of the
current point.
Aptionally, you can assign 6oub-e 8-ic& @under Preferences, ouse
odifiers, (nvelope PointD to (pen enve-ope poin edior.
5e poin s#ape EPF Changes the shape of the current point. The si+ available shapes
are Ninear, CGuare, Cmooth, Fast Ctart, Fast (nd and =e;ier. These
are e+plained in more detail shortly.
5e s#ape for se-eced poins $llows you to choose a shape for multiple envelope points.
The si+ available shapes are Ninear, CGuare, Cmooth, Fast Ctart, Fast
(nd and =e;ier. These are e+plained in more detail shortly.
5e enve-ope defau- poin s#ape Cets shape for future points.
The si+ available shapes are Ninear, Cmooth, Fast Ctart, Fast (nd,
CGuare and =e;ier. These are e+plained in more detail shortly.
5e-ec a-- poins Celects all points in current envelope.
Unse-ec a-- poins ,nselects all points in current envelope.
5e-ec a-- poins in i'e se-ecion )f a time selection is currently active, all points on this envelope
that fall within the time selection will be selected.
8opy poins Copies all points in current selection into clipboard.
<oe: To apply a command to an e+isting selection of envelope
points, you should hold 5#if while you right click over the
envelope.
This ensures that the selected points remain selected when the
conte+t menu is displayed.
8u poins Cuts all points in current selection into clipboard.
6e-ee poin EPF Deletes the envelope point.
6e-ee se-eced poins Deletes all envelope points in current selection.
6e-ee poins in i'e se-ecion )f a time selection is currently active, all points that fall within the
time selection will be deleted. Chown here is a selection of points
before and after using this command.
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8o''and E3p-anaion
/nver se-eced poins Causes all selected points to be inverted relative to their neutral
position. For e+ample, a point on a Pan envelope set at Q"K left
would be changed to Q"K right. <ith items such as Polume which
use a logarithmic scale, the calculation is less obvious.
Rese se-ec poins o Dero$cener Cets all selected points back to a neutral position. Chown here is a
selection of points before and after using this command.
Reduce nu'ber of poins = $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.
Ar' enve-ope for recording Toggles armed status of envelope on and off.
5#o% enve-ope in -ane $ toggle command which moves the envelope into or out from its
own envelope lane.
*ide enve-ope Lides the envelope but keeps it active.
4ypass enve-ope Toggles an envelopeHs bypass status.
8-ear or re'ove enve-ope ... Clears all points on an envelope, restores it to a straight hori;ontal
line. Jou will be asked if you wish also to remove the envelope.
"?."7 Enve-ope 5#apes
(nvelopes can be any of si+ shapes F ,inear, 5Iuare, 5-o% 5ar$End, Fas 5ar, Fas End or 4eDier. To
change the shape of an e+isting curve, right click over the envelope point, then choose 5e Poin 5#ape, then
the reGuired shape from the menu. The e+amples below illustrate the different shapes1
Ninear CGuare Clow Ctart2(nd Fast Ctart Fast (nd =e;ier
Chapes other than CGuare are usually best used for graduated parameters, such as volume and pan. CGuare
envelopes are best used for items with on2off parameters @such as bypass or muteD, to ensure an e+act
transition at the reGuired point.
Jou can specify your preferred default envelope point shape type from the (pions> Preferences> Pro9ec>
+rac&$5end 6efau-s window, as shown on the right.
"?."B Enve-opes in +rac& +e'p-aes
<henever you save a track @or selection of tracksD as a track template @+rac&> 5ave rac&s as rac&
e'p-ae commandD there is an option in the dialog bo+ to /nc-ude enve-opes in enp-ae.
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"? - Auo'aion %i# Enve-opes
"?."C Enve-ope Preferences
'($P('9s envelopes preferences fall into several different categories within your (pions> Preferences
window. These are e+plained in more detail in Chapter %R. eanwhile, it9s worth taking note of the following.
The Appearance pages of your (pions> 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 to1
Chow solid edge on time selection highlight @$ppearance pageD. akes
the boundaries of the time selection more obvious.
Chow guide lines when editing @$ppearance pageD. Facilitates editing.
Draw faint peaks in automation lanes @Peaks2<aveforms pageD. Lelps to
relate an envelope9s position in its own lane to the track9s volume level.
Fill automation envelopes @$ppearance pageD1 this faintly colors the area
below the envelope.
The Ediing 4e#avior> Auo'aion page @see Chapter %RD is another important place to go to. )t gives you
the option, for e+ample, to Auo'aica--y add enve-opes %#en %ea&ing para'eers in auo'aion
%rie 'ode. This enables you to create envelopes on the fly without having to select the reGuired parameters
from any menu. =e careful when enabling this1 you can end up with any number of envelopes that you didn9t
want*
Finally, a number of the options on the Pro9ec> +rac&$5end 6efau-s have something to say about
envelopes. These include1
<hether to have any envelopes @such as Pan and PolumeD automatically displayed for all new tracks.
Jour choice of default envelope shape for new points.
Jour choice of default automation mode for new tracks.
<hether new envelopes are to be automatically armed.
"?.2! Using an Enve-opes +oo-bar
Chapter %0 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. Chown here is an e+ample of a simple
(nvelopes toolbar that you could create. Nisted below are the actions attached to each of the icons in the
e+ample shown.
$utomation1 Cet track automation mode to trim2read
$utomation1 Cet track automation mode to write
$utomation1 Cet track automation mode to touch
$utomation1 Cet track automation mode to touch2read
(nvelope1 )nsert & envelope points at time selection
(nvelope1 Delete all points in time selection
(nvelope1 Clear envelope
(nvelope1 ,nselect all points
(nvelope1 Toggle display of all visible envelopes in lanes for tracks
(nvelope1 Chow all envelopes for all tracks
(nvelope1 Lide all envelopes for all tracks
(nvelope1 Chow all envelopes for tracks
(nvelope1 Lide all envelops for tracks
.lobal automation over-ride1 >o over-ride @set automation modes per trackD
.lobal automation over-ride1 $ll automation in trim2read mode
.lobal automation over-ride1 $ll automation in read mode
Beep 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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"?.2" Auo'aion )i# Grouped +rac& Para'eers
)f you have created track groupings in which you have defined
relationships between various parameters, you can ensure that those
relationships are maintained @or not, as you wishD when automation
envelopes are being written. This is done using the group
Auo'aion 2ode 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. Lere are e+amples. )n each
case, the grouping is similar to that used in the e+ercise file A--
+#roug# +#e <ig# GR(UP5.RPP. )f you completed those
e+amples it might help you to open that file now.
E3a'p-e
)n this e+ample, both of the guitar tracks are set to
act as both master and slave in automation mode and
both volume envelopes are armed @indicated by the
colored circular button to the left of the envelope
name, PolumeD.
Jou can set either track to write, touch or @as in this
e+ampleD 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.
Lad 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.
"?.22 2oving and 8opying Enve-opes %i# /e's
Jou can choose whether or not to move and copy
automation envelopes with media items by setting the
option to 2ove enve-ope poins %i# 'edia
ie's on or off. This is accessed by right clicking on
the (nvelope tool on the main '($P(' toolbar, or by
choosing Enve-ope poins from '($P('9s Aptions
menu. Jou 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 8r- drag and drop method.
Jou can also specify whether or not you want to Add edge poins
@new envelope points at the start and end of the time selectionD
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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"? - Auo'aion %i# Enve-opes
"?.2@ Auo'aion %i# +rac& 5ends
$utomation can be applied to other controls beside Polume and Pan, such as Cends and F: parameters. )n this
e+ample, we will create a Cend, then use an envelope to control it.
E3a'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 F7 4us. Display the
F: Chain for this track, and add the F: TC
.uitar2chorus. Close the F: window.
0. Celect the track Gr 4ody and display the /( routing
for this track. Create a send to the F: =us and set send volume and pan levels as shown @aboveD.
&. Celect the track Gr <ec& and display the
/( routing for this track. Create a send to
the F: =us as a send and set send volume
to F%"d= and pan to OQK 'ight.
Q. >ow display the (nvelopes window for the
Gr 4ody track. Cet the mode to
+ri'$Read. >otice that envelopes are
available for your sends. ake sure that F7
4us 5end Vo-u'e is selected, visible and
armed.
O. Close this window. $n envelope lane for this
send should now be visible on the Gr
4ody track.
#. Lover the mouse over any part of the
envelope, click and drag down until the
envelope is set to about F%!d=.
5. <e are now going to increase the chorus effect, starting ?ust before the second verse.
R. $dd a point at about the O" second mark @Chift ClickD. $dd another point at about !10".
%". Lover the mouse over the envelope ?ust after this second point. Lold 8r- A- while you drag up until the
envelope is set to about F#d=. 'elease the mouse. This is shown below.
%%. Cet 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 0" secs, then click and hold the left mouse
button while you drag the envelope back down a little.
%!. >ow repeat steps Q. to %". for the track Gr <ec&.
%0. DonHt forget to save the file.
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Up and Running: A REAPER User Guide v 4.72
"?.24 Auo'aion %i# F7 Para'eers
Jou can create automation envelopes for any parameters for almost any TC, PCT, PCTi, D: or D:i plug-in that
has been added to any trackHs 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: parameters1
Celect those parameters for which you wish to add envelopes from the (nvelopes window. Jou 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
reGuired item
from the F:
parameters
window. $ll
automatable
parameters for all
plug-ins in the
trackHs F: chain
will automatically
be added to the
menu @see rightD.
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 Guite simple1
%. Touch the parameter for which you want to create an envelope with your mouse.
!. Click on the Para' button.
0. Choose 5#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.
E3a'p-e
%. Apen the F7 8#ain window for the track Vo3.
!. $dd the 15 ,(5ER$44andEP to this chain. Cet the first
FreGuency level to %5" @as shownD.
0. Colo the Vo3 track and play the song.
&. $s you do so, hold down the A- key and gently increase the Now volume level @the top faderD. >otice how
the sound changes and becomes warmer. 'elease the mouse, and the level will snap back to ".".
Q. <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 !1%& 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.
O. $d?ust the hori;ontal and vertical ;ooms of the Po+ track, so that
you can clearly see the area that you are working with.
#. Click on the ,o% d4 fader in the (E then click on the Para'
button. Choose 5#o% rac& enve-ope from the menu @see rightD.
The envelope will be shown. ,nless you have changed the default
preferences, this will be shown in its lane.
5. ark the time selection from about !1%& to the end of the song. ,se
the slider for this parameter @in the TCPD to raise the level of this envelope by about O d=.
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"? - Auo'aion %i# Enve-opes
R. <ith the time selection still active, use this same techniGue to lower the fader for the volume envelope by
about ! d=
@see rightD.
%". Play the file.
Cave it.
+ip: Jou can
automatically
create an envelope
for any F:
parameter ad?usted
during playback. To
do so, enable the
Preferences> Ediing be#avior> Auo'aion option Auo'aica--y add enve-opes %#en %ea&ing
para'eers in auo'aion %rie 'odes, then set track automation mode to touch, latch or write.
"?.2A F7 Para'eer Auo'aion in ,earn 2ode
)f you are using '($P(' with a control surface, such as a
=ehringer =C'!""", you can use it in <rite, Natch or
Touch mode to create automation envelopes for F:
parameters. Jou can use the deviceHs rotaries, faders or
buttons @as appropriateD for this purpose. (ach device is
different, but here is an e+ample1
%. <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 @rightD.
0. Celect a CC mode1 usually this will be absolute or
relative. Consult the device9s documentation1 if in
doubt, try Abso-ue to begin with. For smoother
operation, choose 5of a&eover. Toggle mode is
also available1 this allows F: parameters to be
toggled on2off with a single mapping.
&. Aptionally, select Enab-e on-y %#en effec configuraion is focussed. This allows you to assign the
same control to another parameter in a different plug-in.
Q. <hen the 2/6/ ,earn dialog bo+ is shown, tweak the control on the e+ternal device, select the option
Ar' enve-ope for se-eced para'eer and click on (H. Depending on the parameter
Jou can now use the control device to write your parameter changes to the envelope during pro?ect playback.
)n Trim2'ead mode you can still use the control device to manually ad?ust the parameter - see Chapter %%.
"?.2? Auo'aing a V5+ %i# 2/6/ 88 2essages
Depending on what gear you have, there are two other further methods you can possibly use to send )D) CC
messages to automate a PCT9s parameters1
%. Cend )D) CC from a )D) source @such as a )D) keyboard controller, a )D) track, 'eaControl)D), or
an F: which outputs )D) CC messagesD directly to the PCT. )n some PCTs )D) CC messages are hard-
wired to specific controls @e.g. NinPlug9s $lphaD, in others @e.g. $mpliTube, CampleTank ! and BontaktD
the mapping is assignable.
!. Cend )D) CC from a )D) source to 2/6/oRea8onro-Pa# E5]2F. This in?ects the )D) CC
messages into the 'eaper automation path and onwards to a track PCT Parameter (nvelope for which
)D) Nearn has been used to map the CC message to that envelope. To learn more about @and
downloadD this plug-in, go to foru'.coc&os.co'$s#o%#read.p#pX[4@74".
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Up and Running: A REAPER User Guide v 4.72
"?.27 Auo'aing F7 Para'eers on #e F-y
)f you turn on the (diting =ehavior, $utomation preferences option to Auo'aica--y add and ar'
enve-opes %#en %ea&ing para'eers in auo'aion %rie '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*
<oe: )t is important when you finish recording your automation envelopes in this way that you change
$utomation mode to 'ead or Trim2'ead, otherwise every parameter you tweak will create and2or modify an
envelope, whether you want it to or not.
"?.2B Auo'aion %i# /e's and +a&es
)ndividual media items and takes can be given their own Polume, 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# 2edia /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. Jou can right-click over any point or segment of a take
envelope to access the conte+t menus. Jou can also create
different envelopes for different takes of the same item.
Enve-opes %i# 2u-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 'eaPerbate 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.
"?.2C Auo'aion %i# *ard%are (upu 5ends
)f you are using hardware output sends with any of
your tracks, you will find that you can automate the
Polume, Pan and ute parameters for these sends.
These items will appear in the trackHs envelopes
window as shown on the right.
)n the e+ample shown, we have already created a
send from Track % to an $udio Lardware Autput. <e
can now create an envelope to control the volume of
this send.
<e can even go one better than this. Cuppose 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 TrackHs )A @'outingD
<indow.
Take a look at the screen shot below. Jou can see that the $utomation mode has been set to Touch from within
the 'outing <indow, ?ust for that one envelope.
Jou 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.
Jou can also do this with Track Cend envelopes.
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"? - Auo'aion %i# Enve-opes
"?.@! Auo'aing Auo'aion
DonHt forget that '($P('Hs Acion ,is capabilities really do
put a lot of power and control at your fingertips. For e+ample,
if thereHs an automation task or seGuence of tasks that you use
freGuently, you can allocate a keyboard shortcut to that
seGuence.
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.
Jou could use the Acions> 5#o% acion -is= command to
open the $ctions window and create a custom action similar to
that shown. Jou could then assign a keyboard shortcut to that
custom action, or add it to one of your toolbars. 'efer back to
Chapter %0 for more information about custom actions,
keyboard shortcuts, and custom toolbars.
"?.@" Acions for 2anaging Enve-opes
)n Chapter %0 you were introduced to some of '($P('9s actions, and how you can use the $ctions (ditor and
$ctions Nist to assign these actions to keyboard shortcuts and2or custom toolbars.
This list includes very many actions for managing envelopes, including locking2unlocking envelopes, toggling the
active status of various envelopes, and selecting specific envelopes. (+plore the $ctions Nist for more*
"?.@2 Auo'aing #e 2erono'e
Jou can automate the etronome behavior F
for e+ample, to get it to play only at the e+act
times that you reGuire. To do this, simply create
a new track and use the command /nser>
8-ic& 5ource to insert a media item into your
file. Jou can then treat this click track like any
other track F 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 5ource
Properies 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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00%
Up and Running: A REAPER User Guide v 4.72
"?.@@ Using #e +e'po$+i'e 5ignaure and P-ay 5peed Enve-opes
)n Chapter R, you learnt how to change time signature and2or tempo
within a pro?ect. $nother @and perhaps more intuitiveD way of doing this is
to use the Tempo2Time Cignature (nvelope. To display this envelope in
the main '($P(' arrange window1
%. Choose the command Vie%> +e'po enve-ope from '($P('9s
main menu.
!. Cet the $utomation mode for the aster Track to Read. .
The Tempo ap envelope range @bpmD can be set in your Preferences, on
the (diting =ehavior, (nvelope Display page @Chapter %RD. 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 F you can add points, move them, delete them, ad?ust them, etc. Lowever, 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
tempo2time signature
marker is also inserted on
the timeline - editing their
values has the same effect
as editing the envelope
points, and if you move
them, then envelope points
move with them @and vice
versaD. '($P('9s $ctions Nist
also includes an action
Ad9us enire 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.
Cimilarly, 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 this1
%. Click on the (nvelopes button in the Track aster. This displays the (nvelopes window for the aster.
>ow tick the item P-ayrae. ake sure this item is marked as both Pisible and $rmed.
!. Close this window.
"?.@4 ,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 5#if , @or right-clicking on the Nock toolbar buttonD will cause
the ,oc& 5eings window to be displayed @see rightD.
Jou should then select the Enve-opes option, along with any other
aspects that you also reGuire 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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"7 - Auo'aion %i# Para'eer 2odu-aion
"7 Auo'aion %i# Para'eer 2odu-aion
"7." +#e 8oncep
The use of parameter modulation is probably best undertaken only by e+perienced mi+ers. This chapter serves
as an introduction, but inevitably @because of the comple+ity of the topicD it is not really pitched at the relatively
novice user.
Parameter modulation takes '($P('Hs routing, channel splitting, automation and sidechaining capabilities to
new levels. Jou 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 2ore REAPER Rouing E3a'p-es and work thru it
again. Parameter modulation at its simplest means using the level of a track9s 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. DonHt 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.
Ane relatively simple e+ample might relate to the application of a chorus plug-in to a guitar or bou;ouki track.
Cuppose that we wish to vary the wet2dry balance of the chorus throughout the track. <e could, of course,
accomplish this with the use of automation envelopes. Lowever, this might involve Guite a lot of work. Net9s take
this idea a step further. Cuppose that we wish to define a relationship between the instrumentHs volume and the
wet2dry 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 Guieter 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. )tHs then up to you to use and
apply it in ways that you9ll find will bring new life and vigor to your own mi+es.
"7.2 +#e /nerface
<e9ll 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 @rightD. )n
this e+ample, parameter modulation is about to be
applied to control a compressor9s threshold on a
vocal track. This initial window features five basic
controls. These are1
Enab-e para'eer 'odu-aion> base-ine va-ue. This needs to be ticked for the parameter
modulation @PD to be applied. ,nticking this bo+ sets the P to bypass.
+#e #oriDona- base-ine va-ue fader. This determines the starting value of the parameter being
controlled. <e9ll come to an e+ample shortly. )nitially, leave this at its default setting @fully leftD.
Audio conro- signa-. Ticking this option will open a window which is used to define both which track
@or tracksD contains the audio signal that is to be used to control the parameter being modulated, and
how you want the modulation to be applied. Don9t worry, we9ll get to an e+ample soon*
,F(. This option allows you to use a low freGuency oscillator signal @such as sine, sGuare, triangle,
etc.D to generate a tone to control the parameter being modulated. This is more likely @but not
e+clusivelyD to be used when it is a synthesi;er parameter that is being modulated.
,in& fro' para'eer. 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 (E @to
compensate for loss of dynamicsD. $nother might be that as the wet2dry balance on a delay effect is
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ad?usted to add more delay, the pan position of the delayed signal is automatically moved further out.
The possibilities really are endless.
"7.@ 6efining a Para'eer for 2odu-aion
)llustrated below is an e+ample of the Parameter odulation window with ?ust the Enab-e para'eer
'odu-aion and Audio conro- signa- options enabled. The table below that e+plains the main settings, what
they do and how they are used. <e will then go on to work thru some e+amples to show you how parameter
modulation can be used.
/e' 6escripion
Enab-e para'eer
'odu-aion> base-ine va-ue
with Fader
The checkbo+ enables2disables parameter modulation on this
parameter. The fader sets a default value for the specified parameter
that is to be modified. Lowever, if an automation envelope e+ists for
the same parameter then that envelope will determine the baseline
and this setting will be ignored.
Audio conro- signa- (nables2disables control of the parameter by the audio signal in the
specified +rac& audio c#anne-.
+rac& audio c#anne- This specifies which audio channel@sD F for e+ample, %2! or 02& F
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. Lowever, 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.
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"7 - Auo'aion %i# Para'eer 2odu-aion
/e' 6escripion
Aac& and
Re-ease
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.
2in Vo-u'e and
2a3 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 Guestion
@chorus wet mi+D on the track in Guestion @track &, =ou;oukiD will only
be controlled by the audio signal on channels % and ! when its volume
falls within the range - !& d= to - ".Q0 d=. )f or when the signal is
Guieter than -!& d= or louder than - ".Q0 d= the parameter modulation
is in effect set to bypass.
5reng# and
6irecion
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 %""K positive as the incoming audio
signal increases or decreases, then the parameter being controlled will
also increase or decrease to the same degree. $t Q"K, the relationship
will still be positive, but more moderate. Jou can think of this as being
conceptually similar to a ratio control on a compressor.
Nikewise, a setting of %""K negative means that as the incoming
audio signal increases, the parameter being controlled will decrease in
the same proportion, and vice versa. $t Q"K, the relationship will still
be negative, but more moderate.
$t "K, the effect will be completely neutral.
Audio 8onro- 5#aping 5igna-
Grap#
This graphical control helps shape the behavior of the parameter that
is being modified.
For e+ample, if the direction is set to positive, then pulling the small
red handle @in the centre of the diagonal lineD on the graph fully to the
bottom right corner will result in more modest increases in the value of
the parameter being modified.
An the other hand, pulling the small red handle @in the centre of the
diagonal lineD on the graph fully to the top left corner will result in
greater increases in the value of the parameter being modified.
Don9t worry, we9ll 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 reGuired audio control signal. Finally, we will define the relationship
between the audio control signal and the parameter being modulated.
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"7.4 6efining a Para'eer for 2odificaion
To select an F: parameter to be modified, follow
either of these seGuences1
%. Displaying the trackHs
Enve-opes$Auo'aion window and
click on the J for any plug-in to display
the list of its controls.
!. Click on the 2od button for any
parameter that you wish to have modified
by an audio signal. Jou will then see a
small check bo+ ne+t to the 2od te+t for
that item in the (nvelopes window @as
shown rightD.
0. Close the (nvelopes2$utomation window.
Ar1
%. Apen the plug-inHs F: window.
!. <ith the mouse, click on the control for
the parameter that you wish to modulate.
0. Click on the Para' button in the plug-in
window, then choose Para'eer
'odu-aion from the menu that is then
displayed @as shown belowD.
>otice @rightD that the name of the
last touched parameter F the one
to which parameter modulation will
be applied F is shown dimmed at
the top of the Para' button
menu.
"7.A Para'eer 2odu-aion %i# Audio 8onro-
)n this first e+ample, we will insert a plug-in such as chorus into a trackHs F: chain, then use that trackHs audio
signal to control the way that plug-in behaves.
E3a'p-e
%. Apen the file A-- +#roug# +#e <ig# and save it as A-- +#roug# +#e <ig# 2(6".
!. $d?ust track faders to get a reasonable mi+. This could be Polume at -".Q db, center, .uitar =ody at " db,
QQK left, .uitar >eck at " d=, O0K right, and =ou;ouki at -& d=, %QK left.
0. Colo the 4ouDou&i track. <hile working thru this e+ample, this is the only track that will be needed.
&. )nsert the 15: 6e-ay$de-ay:c#orus plug-in into this trackHs F: chain, and set the various parameters as
shown here.
Q. Click on the %e 'i3 Ed4F roary in this plug-in. >otice that currently this is set at %""K.
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"7 - Auo'aion %i# Para'eer 2odu-aion
O. Click on the Para' button, then choose Para'eer 2odu-aion from the menu. This will open a
parameter modulation window for the wet mi+ rotary. (nable the option Audio conro- signa- and select
as the +rac& audio
c#anne-s % W !. Play the
track.
#. The wet rotary on the plug-
in was initially at %""K, as
shown here. Lowever, as
you ad?ust the baseline
fader @in the P windowD
while the track is playing,
the wet value in the Chorus
window @shown to the
immediate right of the ! in !
out buttonD is also ad?usted.
Neave it with a wet mi+ level
of about Q"K.
5. Cet the various items in the Para'eer 2odu-aion window as shown below and play the track. Jou
should notice the %e 'i3 element of the chorus being faded down for louder notes and passages and
up for Guieter notes and passages.
R. >ow e+periment* Jou should find that1
oving the Aac& 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 5reng# fader @negativeD to the right will cause the wet mi+ chorus fader to be faded
down for louder notes and down up Guieter ones. Celecting positive reverses this.
oving the 2in Vo-u'e fader left will lower the threshold at which the parameter modulation is
applied. oving it right will raise the threshold.
%". <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.
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%!. >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.
%0. >ow drag hold of the handle on the graph, and use your mouse to drag it towards the top left corner of
the graph @as shown belowD. >otice that the movements of the wet mi+ rotary now become much
sharper and the wet mi+ level stays well below Q"K.
%&. 'estore the graph to its earlier position @shown at step %"D when you have finished. Cave the file.
"7.? Using an ,F( 5#ape %i# Para'eer 2odu-aion
>ow let9s have some fun and use a low freGuency 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. Ctart with some fairly
conservative settings as shown below. Celecting the +e'po 5ync option should help make for a fairly safe
outcome* The 5peed 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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"7 - Auo'aion %i# Para'eer 2odu-aion
Compare how the track now sounds with P enabled and disabled. )f you are familiar with working with low
freGuency oscillators, you might wish to be a little more adventurous. Atherwise, ?ust save the file as A--
+#roug# +#e <ig# 2(6" ,F(.
"7.7 Using Para'eer 2odu-aion for 6yna'ic 8o'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 compressorHs operation than would otherwise be possible.
E3a'p-e
%. Apen the file A-- +#roug# +#e <ig# 2(6" and save it as A-- +#roug# +#e <ig# 2(6"A.
!. Pan the Pocal track to the center and set its volume at about- ".Q d=
0. )nsert an instance of Rea8o'p into the F: Chain for the Vo3 track.
&. Cet the +#res#o-d to about F!& and the Raio somewhere around &1%. Cet Hnee si;e to around %Qd=.
Cet the )e gain to about W%.Od=.
Q. $s you play the song,
ad?ust the settings to suit.
Ane possible set of
suitable parameter values
is shown on the right.
O. $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
trackHs 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.
5. Click the Para' button for this plug-in.
R. From the menu, then choose Para'eer 2odu-aion.
%". Ctudy 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.
%!. Cave and close the file when finished.
<oes
=y setting the in Polume 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 Ctrength setting of 00K effectively
means that for every 0 decibels by which the volume e+ceeds the min volume, the threshold will be lifted by
about % d=.
<oe: <hen you are using Parameter odulation you should be prepared to tweak the various parameters
carefully. Cometimes 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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"7.B 4ypass 2ode
<henever you create a parameter modulation for
a parameter, a small bo+ is added ne+t to its name
in the (nvelopes2$utomation window. This can be
used to enable any of your parameter
modulations, or set them to bypass mode @in
which case they are of course ignoredD. Atherwise
you can do this from inside the Parameter
odulation window itself.
)n the e+ample shown here, P settings e+ist for
the Threshold @currently enabledD.
$lso, note that clicking on the word 2od for an
item where parameter modulation already e+ists
will cause that window to be opened @even if it is
currently disabledD so that you can view and2or
edit the settings.
"7.C Para'eer 2odu-aion Under Para'eer 8onro-
=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 track9s (E gain with its compressor threshold, so that whenever the
compression threshold is raised a little more warmth is automatically added to the track.
%. Apen the file A-- +#roug# #e <ig# 2(6"A and save it as A-- +#roug# #e <ig# 2(6"4.
!. )n the vocal F: chain, add an instance of 'ea(E @after 'eaCompD. Celect =and !. Cet the FreGuency to
about %5" L;, the bandwidth to about !."" octave and the .ain to "." d=.
0. <ith the 'ea(E window open, click on the =and ! .ain control, then the Para' button, then
Para'eer 2odu-aion to open the Parameter odulation window. Celect the option ,in& fro'
para'eer.
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"7 - Auo'aion %i# Para'eer 2odu-aion
&. Click on the large button immediately below the
,in& fro' para'eer option and choose
Rea8o'p then +#res#o-d @as shown hereD.
Q. <hile the pro?ect plays, ad?ust the baseline value
fader so that the .ain on =and ! in 'ea(E is
restored to " d=.
O. Cet the (ffse fader to QK and the 5ca-e to
W%""K @see notes belowD.
#. Play the song and save the file.
)n our first two e+amples @%#. Q and %#. OD parameter
modulation was used to create Guite a dramatic effect.
)n the last two e+amples @%#. # and %#. RD, the effect is
far more subtle.
The two controls (ffse and 5ca-e can be used to
control the e+tent to which the controlling parameter @in
this e+ample the compressor9s thresholdD modifies the
controlled parameter @in this case the (E band gainD.
The Affset fader increase @to the rightD or decreases @to the leftD by a specified percentage the value of the
parameter being modified
The Ccale fader covers a range from -%""K to W%""K. $t -%""K the relationship between the controlling
parameter @thresholdD and the controlled parameter @(E band ! gainD will be %""K negative1 the (E gain will
be lowered e+actly as the threshold is raised. $t W%""K the relationship will be %""K positive and the opposite
will occur.
Parameter modulation is a very powerful feature indeed. Jou 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
(E .ain @perhaps =and 0D, driven this time directly by the track9s 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.
"7."! Using Para'eer 2odu-aion %i# an Enve-ope
<hen you have an automation envelope enabled for a parameter being modulated, then the baseline value will
be determined by that envelope rather than by the baseline value fader in the parameter modulation window.
<hen this happens, the baseline value that is actually applied will itself vary @according to the envelopeD
throughout the song. This can produce some interesting results.
Lere we have added an envelope to control the 4and @ EP Gain setting of 'ea(E. =y clicking the 2odu-ae
button in the envelope lane we are able to open the Parameter odulation window and take the necessary
steps to ensure that the (E 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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"7."" Para'eer 2odu-aion under 5idec#ain Audio 8onro-
This ne+t e+ample introduces another application for Parameter odulation. )n this case, we will use the audio
signal from one track @a vocal trackD to shape the sound of an instrument submi+ @that is, a folder track
containing several instrumentsD. This will be done in such a way as to cause the instruments to appear to pull
back slightly during the vocal passages.
E3a'p-e
%. Apen the file A-- +#roug# +#e <ig#
2(6" and save it as A-- +#roug# +#e
<ig# 2(62.
!. 'emove or set to bypass the delay plug-
in in the =ou;ouki track9s F: chain.
0. )nsert a new track after the vocal track.
>ame this track /nsru'ens and
make it into a folder. )nsert the three
instrument tracks into this folder, as
shown on the right.
&. $dd an instance of Rea8o'p to the
=ou;ouki track. This is needed only
because the volume of this instrument
increases Guite significantly as the song
progresses. <e wish to pull this back a
little.
Q. Cet a threshold of around F%Qd= and a
ratio of around &1%.
O. Celect the )nstruments folder and display its 'outing @)AD window. Cet the number of track channels to &
and add a receive from channels %2! of the Po+ track to channels 02& of the )nstruments folder.
#. Apen the F: <indow for the )nstruments folder and add an instance of 15: 55i--%e--$e3cier. This will
be used to brighten up the
instrument a little.
5. Cettings 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.
R. <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 2i3 \ control, then on the Para' button and choose Para'eer 'odu-aion 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+ K back to about 0"K.
%!. Celect +rac& audio c#anne-s @$4 and make the direction <egaive.
%0. $d?ust the other parameters so that as the vocal floats above the instruments the i+ K of the (+citer is
smoothly and gently faded down.
%&. Ane possible solution to this e+ercise is shown below. =ut don9t ?ust dive straight in and copy these
settings. Try to get there by yourself*
%Q. Cave the file when you are finished.
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"7 - Auo'aion %i# Para'eer 2odu-aion
"7."2 Fur#er App-icaions
This chapter has introduced you to ?ust a few basic e+amples to help you understand what '($P('Hs parameter
modulation is and how it can be used. )n doing so we have barely scratched the surface.
Lere are some other points to keep in mind1
<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;erHs output can be used to control signals on an audio track.
)f you are familiar with working with synthesi;ers and low freGuency
oscillators, you may have developed an understanding of different
types of waveforms such as sine, sGuare and triangle. Jou can use
these NFA shapes in your parameter modulation. The opportunities
here can take you well beyond the introductory e+ample used earlier in this section.
Ather applications for parameter modulation are limited only by your needs, your creativity and your
imagination. For e+ample, with this techniGue you are able to use the audio signal from one track @or
group of tracksD to control specific parameters on a noise gate on another track @or tracksD.
+ip: Jour parameter modulation windows and their settings will automatically be saved with any F: chains
and2or track templates that you create.
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"B - E3poring Fi-es> 2i3ing 6o%n and Rendering
"B E3poring Fi-es> 2i3ing 6o%n and Rendering
"B." /nroducion
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 are1
8onso-idae +rac&s1 this outputs tracks pre-processing @ignoring for e+ample track F: and panningD. ,se
this, for e+ample, if you are supplying files to be mi+ed2mastered by someone else.
Render o Fi-e1 this outputs your material post-processing @including for e+ample all F: and panningD.
,se this to produce a final mi+ of your songs ready for distribution.
4ac# Fi-e$/e' 8onverer1 this takes a collection of files at any stage in your pro?ect and converts
them en mass to another format F for e+ample, to convert audio to P0 for web distribution, or CF: for
games to !! kL; mono.
"B.2 4ac# Fi-e 8onversion
Jou might have several tracks to convert to
another format, e.g. from .<$P to .P0.
This can be done in one pass, using
'($P('9s batch file converter, accessed by
choosing Fi-e> 4ac# fi-e$ie' converer
from the main menu. This dialog bo+ @rightD
will be displayed. Follow this seGuence1
%. )n $rrange view, select the items to
be converted then click on Add, then
Add se-eced 'edia ie's, or
!. Click on the Add... button, then Add
fi-es... ake your selection, and
click on (pen.
0. 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 8-ear button.
&. Cpecify output directory @or select
Use source fi-e direcoryD. Neave
the Fi-e na'e blank for the default
name @shown in the Autput columnD,
or enter your own. Jou can include
te+t and2or any of the many available
wild cards. The above e+ample uses
pro?ect name, year, month and day.
Cee note about wild cards below.
Q. Neave the c#anne-s and sa'p-erae settings at source to use the same values for your output files as
are used by your input files. Atherwise, you may make what changes you like F e.g. from stereo to mono,
or from 55.! kL; to &&.% kL;.
O. To convert the files, after making your selection click on the 8onver A-- button. This opens the Fi-e
8onversion window @see aboveD.
#. Celect your reGuired output format @e.g. P0, A.., FN$CD and any parameters associated with that
format. Depending on the format, you might have the options for dithering and2or noise shaping.
5. Aptionally, you can select Use F7. )f you select this option, you should also click on the F7 c#ain...
button to specify your reGuired effect@sD F for e+ample, perhaps a limiter. <hen ,se F: is enabled, you
may also specify an F: tail length in ms.
R. Cpecify your output @destinationD folder and click on 5ar 8onver to implement the file conversions.
Close the File Converter window when finished.
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<oe on )i-dcards: ,sing wildcards causes individual information included in the name of each rendered file.
For e+ample, including /pro?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 ^pro9ecG^rac& would
cause a separate subdirectory to be created for the output of each track.
"B.@ 8onso-idaing and E3poring
Jou 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 away3 Jou could send her your .'PP file together with all the media item files. =ut what if she
doesnHt use '($P('3
Perhaps she uses a
different software program,
or perhaps she doesnHt
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.
Lere, the Po+ track is made up of three
items, each covering part of the total song.
)f we were to send the media files @si+ in
allD to someone else, then it would be
difficult for them to line the items up.
ThatHs where consolidate and e+port helps.
)t creates a new set of audio files, ?ust one
file per track. Ance 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 and2or track selection.
!. From the main menu, choose Fi-e>
8onso-idae$E3por +rac&s.
0. Choose Enire pro9ec or +i'e
se-ecion or 8uso' selection, then
A-- or 5e-eced rac&s.
&. Decide if you want to Force (upu
For'a to a single format or have
this determined on a per track basis.
Q. Celect a Resa'p-e 2ode.
O. Cpecify consolidation format F <$P,
$)FF, FN$C, P0, A.. Porbis,
onkeyHs $udio or <avPack. )n the
e+ample shown, <$P has been selected.
#. Celect your reGuired specifications for your chosen format. For e+ample, for <$P files you need to select a
bit depth and specify whether you want to use =<F data, include markers and regions, and how to deal
with )D) data. )f in doubt, speak to the person to whom you will be sending the consolidated fikles.
5. Cpecify your Autput directory @where the files will be written toD. Cpecify whether you wish to update your
pro?ect with the newly consolidated files.
R. Cpecify a name for the new pro?ect file @or accept the defaultD. Click on Process.
<oe: =e careful how you use the option to E'bed pro9ec e'po. )t adds an $C)D tempo tag to the audio
file@sD. 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. Anly enable this option if you are certain you want the tempo embedded.
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"B - E3poring Fi-es> 2i3ing 6o%n and Rendering
Chown here is
an e+ample of
how a pro?ect
file looks after
consolidation,
with one media
item per track.
)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.
<oe: To consolidate in P0 format you will need to have the correct free Name encoder file for your platform
and '($P(' version. For e+ample, for <indows :P or Pista this is -a'e:enc.d--. For O& bit <indows it will be
either -ib'p@-a'e.d-- or -a'e:enc?4.d--. The file should be placed in your 8:GProgra' Fi-esGREAPER
folder. )t will take you only a few moments to use .oogle to find a suitable download location. Nikewise, for
output video rendering you will reGuire an encoder such as FF'peg.
>ote also that when you consolidate your media in this way, your item settings and properties @such as take
envelopes, take F: and item pitch ad?ustmentD will be incorporated in the output files, but track based
properties @such as track F:D 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 5e's
Ese-eced rac&sF from the 'ender
drop down list.
"B.4 Rendering A Pro9ec
$s you9ll find out before you reach the
end of this chapter, the Fi-e> Render...
command has several diverse uses. Ane
common one is for rendering a complete
pro?ect down to a single stereo file.
NetHs say that you have finished your
recording, completed your edits, added
all your F: and automation, arranged all
your tracks I. and now you want to
produce an end product for distribution.
)f you9re aiming for an audio CD, you
will need one %O bit stereo wave file for
each song on the CD.
)f you9re distributing thru the web, then
most likely you will want a series of
stereo P0 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. Jou can also use the
shortcut 8r- A- R.
The dialog bo+ @rightD shows the various
options. Jou must specify a directory
and file name1 if you wish, use the
4ro%se button for either or both of
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Up and Running: A REAPER User Guide v 4.72
these. Jour other choices will depend on the ultimate destination of your material. $ summary of Render o
Fi-e dialog bo+ options follows below.
(pion E3p-anaion
Render Choose master mi+ to mi+ all material to a single file, stems to render selected
tracks to separate files, or both. Ctem rendering is e+plained in Chapter Q.
'egion render matri+ will be e+plained later in this chapter.
Preses Jou can save your settings as a preset, or load a previously saved preset.
Render 4ounds Celect custom time range @enter in edit bo+esD, entire pro?ect, time selection
@make selection in arrange viewD, pro?ect regions @selected in 'egion2arker
anager or 'egion 'ender atri+D, or selected media items.
6irecory
Fi-e <a'e
(nter these in the edit bo+es, or use the 4ro%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, and2or date2time
stamps.
5a'p-e Rae Celect a value in the range 5""" to %R!""", depending on output format and
other factors. Come e+amples follow in the table after this one.
8#anne-s Choose mono, stereo or select a number for multichannel output.
(n or (ff-,ine 5peed Full-speed @defaultD for fastest rendering. Athers include % + offline, online,
online @idleD and offline + % @idleD.
Use pro9ec sa'p-e
rae...
)f enabled the pro?ect sample rate will be used for mi+ing and F:2synth
processing. )f in doubt, leave this enabled.
Resa'p-e 'ode Parious options allow trade off between speed and Guality. Default is %R!.
Use pro9ec rae (nable this to automatically use pro?ect sample rate for mi+ing2processing.
+rac&s %i# on-y 'ono
'edia ...
(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 Cetting.
2u-ic#anne- rac&s... These can be rendered to multichannel files. $n e+ample follows shortly.
6i#er> <oise 5#aping >ot available with all output formats, commonly used when rendering !& bit @or
higherD audio material to %O bit <$P format for audio CD. Creates a smoother
transition to the lower sample rate in the rendering process.
(upu for'a Choose from <$P, $)FF, monkeys audio, audio CD image, FN$C, P0, A..
Porbis, video @FFmpegD, video @.)FD, or <avPack.
For'a specific opions Ceveral other options will be specific to your selected format. For e+ample, for
<$P or $)FF files, bit depth will need to be specified, for FN$C you must select
FN$C encoding depth and data compression level.
<hen rendering to <$P format, you may also specify whether markers,
regions, both or neither should be embedded as cues in the output file@sD. The
option /nc-ude pro9ec fi-ena'e in 4)F descripion is also available for
<$P format1 it associates rendered files with the source pro?ect F see Chapter
%%.
For <$P files you have also the option to embed the pro?ect tempo.
5i-en-y incre'en
fi-ena'es
Prevents you from accidentally overwriting an e+isting file1 if an e+isting file
name is selected, an incremental number such as ""% will be appended to the
name.
Add rendered ie's o
ne% rac&s...
)f enabled, this option causes your rendered file@sD to be added to the pro?ect
as new tracks.
5ave copy of pro9ec o
ou-ine.%av.RPP
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.
(pen render Iueue
Add o render Iueue
These options are used in batch rendering, which will be discussed shortly.
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"B - E3poring Fi-es> 2i3ing 6o%n and Rendering
(pion E3p-anaion
Render 3 fi-es Causes the pro?ect to be rendered to one or more files, depending on options.
6e-ay Iueued render... (nable this if you need Gueued rendering to be delayed long enough to allow
any large sample files to be loaded.
5ave c#anges and c-ose Caves and closes the render settings without rendering any files.
Pro9ec Rendering E3a'p-es
E3a'p-e 5pecificaion
6V6 Audio
5oundrac&
Cample 'ate1 &5""" LS, Channels1 Ctereo, Ligher Euality
Autput format1 <$P format, !& bit
86 Audio
Cample 'ate &&%"" LS, Channels1 Ctereo, Ligher Euality
Autput format1 <$P format, %O bit
App-e 2ac $)FF Format. Preferred settings will vary with individual circumstances.
)eb 5ie $ )eb
Audio
Cample 'ate &&%"" LS, Channels1 Ctereo, Ligher Euality
Autput format1 P0 format
Ather options may vary as you trade off files si;e and download time against audio
Guality, but a typical selection might be1
C=' @Constant =it 'ateD RO or %!5, Toint Ctereo, Euality Ligh
2on&eyNs Audio
,se this format for lossless compression at %O or !& bit, sample rate as preferred.
Audio 86 /'age
E8ue$4inF for'a
Cpecifications 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.
Jou can specify how markers or regions should be used to define tracks. This
includes the option only to use markers whose name begins with 8V8, in which
case these become track markers. Further information about how to do this can be
found later in this chapter.
2u-ic#anne- +rac&s
<e look at channel splitting and creating multichannel tracks
in detail elsewhere in this ,ser .uide, especially in Chapter
%Q. Jou 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 options1
Channels - Celect the number of channels, e.g. &
Celect Render se's Ese-eced rac&sF o si'i-ar-y na'ed fi-es.
Celect Render 'u-ic#anne- rac&s o 'u-ic#anne- fi-es.
Aptionally, Add ie's o ne% rac&s in pro9ec %#en finis#ed.
Chown here is a four
channel track @Track %D
rendered in multichannel
format @Track !D.
+ip: The $ction Nist
includes actions Fi-e:
Render pro9ec using
#e 'os recen render seings and Fi-e: Add pro9ec o render Iueue using 'os recen render
seings. )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.
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"B.A Rendering a Finis#ed 5ong
<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. Lowever, there are a few tips that you may wish to keep in mind
which are eGually applicable to both.
Jour 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 rendering1
%. Position the play cursor at the point where you wish the rendering to
commence. Press 5#if 2 to create a marker at this point. >ame
this marker 5ar @above rightD.
!. Position the play cursor at the point where you wish the rendering to stop. Press 5#if 2 to create a
marker at this point. >ame this marker End.
0. <ith loop points linked to time selection, double click on the marker line @above the timelineD anywhere
between the two markers. This
selects the entire area between them.
&. From the '($P(' menu, choose the
Fi-e> Render command.
Q. Celect the reGuired output format and
other options as reGuired, but be sure
to include the option +i'e se-ecion
from the 'ender =ounds drop down
list.. The settings shown at the start
of section %5.& would be suitable for
producing a file for CD audio. Chown
here are those that would be suitable
for producing a .P0 file. >otice that
for P0 some options @e.g. dither and
noise shapeD are not available.
O. <hen you are ready, click the
Render " fi-e ... button in this dialog
bo+ to render your file.
"B.? 4ac# Rendering
Jou might have a collection of songs
@perhaps to go together on a CDD 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 procedure1
For Eac# Pro9ec o be Rendered:
%. Apen the pro?ect and choose the
Fi-e> Render command.
!. Choose your various settings and
options, as e+plained in the previous sections. Jou will probably want to select the same folder @directoryD
for all of the pro?ects that will be included in the batch to be rendered.
0. Do not click the 'ender% File button. )nstead, click the Add o Render Pueue button. <hen you add a
file to this Gueue 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 Gueue, then add it back again.
&. The dialog bo+ will be closed, and nothing appears to happen. Cave and close the file.
+o Render #e Pueued 4ac# of Pro9ecs:
<hen you render the files in the Gueue, 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.
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"B - E3poring Fi-es> 2i3ing 6o%n and Rendering
%. From the main '($P('
menu, choose the Fi-e>
5#o% Render Pueue
command.
!. This causes a dialog bo+
@rightD to be opened. $ll
files in the render Gueue
@in this e+ample fourD
will be listed.
0. )f you need to remove any item from the list, select it and click on Re'ove 5e-eced.
&. (ither use 8r- 8-ic& to build up a subset of items to be rendered and click on Render 5e-eced or
simply click on Render A-- to render all items in the Gueue, 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 Gueue.
Q. 8-ose the Eueued 'enders dialog bo+ when finished.
"B.7 Rendering 5e-eced 2edia /e's
The 5e-eced 'edia ie's option in the 'ender drop down list can be used
to render any media item or selection of media items. The procedure is1
%. Celect the reGuired item, or all reGuired items in $rrange Piew.
!. Apen the Fi-e> Render... dialog bo+.
0. Choose 5e-eced 'edia ie's from the Render drop down list.
&. Celect your reGuired output format and other options in the normal way.
Q. Click on Render 33 fi-es... to render immediately, or on Add o render Iueue to do this later.
"B.B Rendering Regions
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This section reGuires you to have a sound knowledge of '($P('9s regions, what they are, how to create2modify
them and how to work with them. This is all e+plained in Chapter 5.
'endering regions uses a combination of three possible windows1 Render o Fi-e, Region$2ar&er 2anager
and Region Render 2ari3. 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.
Jou can select and render any permutation of tracks and regions you like. )n the 'ender to File dialog you can
include wildcards like /region and /track in the output file names. To display the 'egion 'outing atri+1
From the main menu choose Vie% then Region Render 2ari3, or
Click on the Render 2ari3... button in the 'egion2arker anager window.
)n the Render o Fi-e dialog, select Region render 'ari3 from the 'ender drop down list, then click
on the Region 2ari3... button @see below rightD.
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 F Perse %, Perse ! and Perse 0
@see below rightD.
)n the first column @Perse %D, only
master mi+ @the first header rowD is
checked. This would result in one file
being rendered for Perse %. This file
will be a master mi+ of all tracks.
)n the second column @Perse !D neither header row
has been checked, but two tracks @Po+ and Po+
LarmonyD have been. This would result in one file for
each of these two tracks being rendered for this
region.
)n the third column @Perse 0D both the two header
rows @master mi+ and all tracksD have been ticked.
This would result in five files being rendered for this
region F a master mi+ of all tracks, plus individual files
for each of the four tracks.
Jou can make your selection in either the 'egion
'ender atri+ or the 'egion2arker anager F both
are automatically updated. This is shown below1
This window9s right-click menu is shown here @below rightD. Aptions include Render 'aser 'i3 for a--
regions, Render a-- rac&s for a-- regions and Render 'aser 'i3 and a-- rac&s for a-- regions.
From the Region Render 2ari3 you can open the Render o Fi-e dialog by clicking on the Render button.
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"B - E3poring Fi-es> 2i3ing 6o%n and Rendering
Lere 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
^pro9ecG^region-^rac& then the output files produced will
include the pro?ect file name, region name and track name, with
each region9s files being placed in its own separate sub-directory.
The file name ^pro9ecG^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 33 fi-es... , Add o render Iueue...
or 5ave c#anges and c-ose to proceed.
"B.C 4urning an Audio 86 %i# REAPER
There are at least two situations in which you might wish to burn
your material direct to an audio CD.
%. Jou have recorded a number of songs. (ach has been mi+ed and rendered to its own stereo wave file.
Jou now wish to burn all of these to audio CD, with one track for each song.
!. Jou have perhaps a live recording comprising one continuous track. Jou 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 86 fro' severa- 'i3ed fi-es
%. Ctart '($P(' and create a new pro?ect file. Press 8r- A- 7 to display the 2edia E3p-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.
0. >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. Jou will later be able to tell '($P(' to do
this automatically for you.
&. Jou will now need to insert a marker to indicate where
each track is to start. To do this I
Q. First, make sure that Cnapping is disabled. Place the
cursor at the beginning of your pro?ect. Press 5#if 2 to
create and edit a marker at this point. ake sure the
marker name begins with a Z @as shown on the rightD.
O. >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 here1
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5. Cave the Pro?ect File.
R. >ow follow the instructions below for 4urning #e 86.
Preparing o burn a 86 fro' one coninuous recording
%. )f the recording was made in '($P(', open the pro?ect file. Atherwise, 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.
Lowever, you will need to indicate where you want each track on the CD to start.
0. First, make sure that Cnapping is disabled. Place the cursor at the very beginning of your pro?ect. Press
5#if 2 to create and edit a marker at this point. ake sure the marker name begins with a Z.
&. >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.
Q. 'epeat this until you have created a marker at the start of each song, as shown below1
O. Cave the Pro?ect File.
#. >ow follow the instructions below
for 4urning #e 86.
4urning #e 86
%. Choose the Fi-e> Render
command. Jou should now select
the necessary options and
settings for burning your CD.
!. 5a'p-e rae1 &&%""
8#anne-s: Ctereo
Render enire pro9ec
Render 2aser 2i3
(upu for'a1 $udio CD
)mage @C,(2=)> FormatD
2ar&ers define ne% rac&s
4urn 86 /'age afer render
(n-y use 'ar&ers saring
%i# Z.
)f you do not have any dithering
plug-ins in your aster F: Chain,
consider also enabling the
6i#er and2or <oise 5#ape
options.
0. )n the case of the first of our two
e+amples @with separate media
items lined up on different
tracksD you might also want to
specify a ,ead in si-ence for
rac&s of !""" ms.
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"B - E3poring Fi-es> 2i3ing 6o%n and Rendering
&. Click the Render button and wait for the output file to be rendered. This might take a few minutes.
Q. <hen rendering has been completed, the 4urn
Audio 86 /'age settings screen will be
displayed.
O. Celect your preferred method. This will depend
on factors such as your PC set up and operating
system. )f in doubt, choose cdrecord$cdoo-s
as shown.
#. Celect E9ec 86 %#en done. Decide whether
you wish to keep or delete the CD image files
when done. )t9s 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.
5. )nsert a blank CD into your CD drive and wait
for it to load.
R. Click 4urn 86.
%". <ait while the 4urning in progress message
is displayed.
%%. <hen finished, the CD will be e?ected. Click on
8-ose to close any messages still displayed on
the screen.
<oe:
)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. Anly 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 %O bit &&%"" L; .<$P 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 Pro9ec 5eings as your 2edia for'a for app-y F7> g-ue> open> copy> ec. <ithin the pro?ect
you can then glue any e+isting media item@sD, while any media items you then import will be automatically
converted to this format.
"B."! 5aving ,ive (upu o 6is&
Jou have an option to e+port your live
output to disk, using the Fi-e> 5ave -ive
oupu o dis& EbounceF command. This
is similar to Fi-e> Render, e+cept that
whereas the 'ender command works off
line, (+port Nive to Disk works in real time.
This means, for e+ample, that you can
actually make ad?ustments on the fly to
your settings while your pro?ect is being
mi+ed down.
Position the play cursor at the start of the
section you wish to save @e.g. the
beginningD and choose the Fi-e> 5ave -ive
oupu o dis& command. Cpecify output
directory, file name, output format, etc.
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Up and Running: A REAPER User Guide v 4.72
Aptions include1
5ave oupu on-y %#en p-aying or recording1 enables you to stop and start playback2recording whenever
you wish, then later start again to resume bouncing to disk.
5op saving oupu on firs sop1 ensures that bouncing will finish when 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 5ar button to begin bouncing. Choosing 5ave -ive e3por
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 P0, so that later you can hear everything that was said about each take even though the transport
was stopped and nothing was being recorded on the tracks. Ane neat aspect of this is that you can use
'($P('9s 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.
"B."" Using Preses
Jou can save your render settings as
presets, and recall them when you wish to
use them again F render bounds and output
settings, or options and format settings, or
all settings. Click on the Preses button @in
the Render o Fi-e dialog bo+D to display
the menu for doing this. Jour presets will
automatically be added to the
appropriate menu @see e+ample, rightD.
"B."2 Rendering in 5urround
For'a
<hen you are rendering a pro?ect for
surround format, most of the settings
will be made as for any other pro?ect
@such as a stereo mi+D.
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 Q.% surround, therefore O
channels have been selected.
'($P(' will render this pro?ect into a
single multichannel file. Jou may later
need to convert the interleaved
multichannel file into multi-mono files
of the type reGuired by Dolby and DTC
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 -
http122www.sounddevices.com
2products2waveagent.htm.
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"C - REAPER;s Preferences and (#er 5eings
"C REAPER;s Preferences and (#er 5eings
"C." /nroducion
$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('Hs preferences and other settings to tailor the program
more closely to your particular reGuirements. Don9t worry about the sheer number of options available. )n many
cases, youHll 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('9s other preferences and settings, go to the '($P(' <)B) or the '($P(' forums.
"C.2 Genera- Preferences
ost of the settings
on the Genera-
page fall into one of
the following
categories1
,anguage1
Celect from list
any available
language, or
option to
prompt when
'($P(' is
loaded.
/'por and
E3por. These
buttons can be
used to
consolidate,
save and
e+port your
various
settings and
configurations
to a 'eaperConfigSip file, or to import them from such a previously saved file @more details on ne+t pageD.
Undo 5eings. These are e+plained in Chapter ! and re-e+amined near the end of this chapter.
5arup 5eings. Enable or disable various options. (pen pro9ecs on sarup allows you to choose
from ,as acive pro9ec, ,as pro9ec abs @i.e. all pro?ects open when '($P(' was last closedD, <e%
pro9ec ignoring defau- e'p-ae, <e% pro9ec, or Pro'p. Choosing Prompt will cause you on
startup to be offered a choice which includes last active pro?ect, last pro?ect tabs, a new pro?ect @using or
ignoring the default pro?ect templateD, any pro?ect template, or any file on the recent pro?ects list.
Ather options include 5#o% sp-as# screen on sarup and Auo'aica--y c#ec& for ne% versions of
REAPER. There is also an option to 8reae ne% pro9ec ab %#en opening 'edia @directlyD from
<indows (+plorer or AC : Finder.
8#ec& for 'u-ip-e insances can be disabled if you want to allow more than one '($P(' instance to be
open at the same time.
Recen Pro9ec ,is. This setting determines the ma+imum number of files that will be displayed on your
File, 'ecent pro?ects menu. Jou can also 8-ear #e -is.
)arn %#en 'e'ory usage #ig#1 Cuggested settings are %5"" for 0! bit, 05"" for O& bit '($P('.
Advanced U/ 5yse' +%ea&s. These allow for a number of options, including the scaling of ,)
elements such as your icons and panels. <e9ll deal with these later in this chapter.
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"C.2." /'por and E3por 8onfiguraion
E3por configuraion can be used to e+port to a .'eaperConfig.Sip file any permutation of your settings.
/'por configuraion 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('9s arrange
window. Jou 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 file1
Configuration
Color themes
Plug-in presets
F: Chains
TC F:
Pro?ect and track templates
iscellaneous data
Cursors and key maps
enus and toolbars
$ctions and key bindings
enu sets
Channel mappings
'eaCcripts
Nanguage 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 5ave button to create the file.
)mport and e+port configuration e+ists side by side with the individual import2e+port options that are available
within many of '($P('9s different elements. For e+ample, to e+port only your actions and key bindings you
would be most likely to use the /'por$e3por... 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 'eaCcripts @perhaps to be imported into '($P(' on another computerD,
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 @or all three*D in case of system failure.
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"C - REAPER;s Preferences and (#er 5eings
"C.2.2 Pa#s and Heyboards
<ithin the Genera- preferences category you will find two more pages F Pa#s and Heyboard.
5eings Page 2ain (pions
Pa#s Lere you can set @individuallyD default paths for '($P(' to use when rendering,
recording, and2or for storage of waveform peaks.
The last of these will only be applied if under Preferences, edia the option to 5ore a--
pea& cac#es in a-ernae pa# is enabled.
Heyboard This page consists of two main sections F Heyboard and 2u-i-ouc#.
The &eyboard section includes the following1
8o''i c#anges o so'e edi fie-ds afer " 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 Ener
Use a-ernae &eyboard secion %#en recording. Jou must enable this if you wish
to use your ain @$lt recordingD 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.
Jou can click on either of the two links in this window to open the action list editor
@$ssign keyboard shortcuts I.D or to open your web browser with a list of keyboard
shortcuts @Piew keyboard shortcuts as I. D.
The other section allows you to customi;e the behavior of your 2u-i-ouc# trackpad or
similar, if you have such a device. 'efer to the Preferences, .eneral, Beyboard window
and your device9s documentation for a list of options.
"C.@ 2ain Pro9ec Preferences
'($P('9s main Pro9ec settings page is in some respects less interesting than either of its two sub-pages @see
belowD. >evertheless, it has some useful items, including1
The option to specify a defau- .RPP file to use as a e'p-ae 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 pro9ec seings %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('9s splash screen when a pro?ect is loading.
<hether to save pro?ect file references with re-aive 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> 5ave As to over write an e+isting file, whether to create 'u-ip-e versions.
<hether to auo'aica--y creae a bac&up file @.'PP-=$BD 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 auo-save your pro?ects and, if so, at what intervals. The default @if this is enabledD is %Q
minutes. This can help prevent work from being lost due to power outages or computer crashes.
<hether to include your Undo #isory 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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"C.@." Pro9ec +rac&$5end 6efau-s
$s the page name implies, you9ll find two groups of default settings here F one each for +rac&s and 5ends.
5eings
Group
2ain (pions
+rac&s
+rac& vo-u'e fader defau- gain1 sets the initial volume fader level for new tracks.
Default is "." d=.
6efau- visib-e enve-opes1 allows you to specify any track parameter envelopes @e.g.
Polume, PanD that you would like automatically displayed for new tracks.
6efau- enve-ope poin s#ape1 sets the shape for new envelopes @e.g. NinearD.
6efau- auo'aion 'ode1 sets automation mode @e.g. Trim2'eadD for new tracks.
6efau- rac& #eig# in ne% pro9ecs1 choose from small, medium and large.
5#o% in 'i3er1 whether or not new tracks by default are shown in i+er.
2ain EparenF send1 whether send to aster @top level tracksD or parent folder @child
tracksD is by default enabled for new tracks.
Free ie' posiioning1 whether F)P is by default enabled for new tracks.
Record-ar'1 whether new tracks are automatically armed for recording.
Record config1 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.
5ends$+rac&
*ard%are
(upus
5end defau- gain1 default volume fader level for new track sends.
*ard%are oupu defau- gain1 default volume fader level for new hardware sends.
5ends$#ard%are oupu defau- 'ode1 default send type @e.g. Post fader2Post panD.
5ends = by defau-1 whether sends by default include audio or )D) or both.
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"C - REAPER;s Preferences and (#er 5eings
"C.@.2 2edia /e' 6efau-s
'($P('9s 2edia /e' 6efau-s include1
<hether to use automatic fade-ins2fade-outs on new items, and if so how long they should be.
<hether to overlap and split crossfade items, and if so by how much.
Default fade and cross fade shapes.
<hether right-clicking on one side of crossfade set should change only that side @use 5#if to toggleD.
<hether to allow automatic fades and crossfades for )D) note velocity.
<hether to loop source imported items and2or new )D) items and2or recorded items.
<hether time selection auto-punch audio recording should create a loopable section.
"C.4 Audio 8onfiguraion and 5eings
<eHve already mentioned @Chapter %D the Audio 6evice screen @in the Preferences windowD, but itHs worth
discussing this topic a little more.
Two important issues in the digital audio world concern buffers and -aency. ,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. ake
them too small and you9ll get audio clicks and pops^ make them too large you9ll notice delays in your
headphones when youHre input monitoring, especially with software synthesi;ers.
The goal is to achieve the lowest possible latency without e+periencing dropouts. The optimum setting depends
on a number of things, not least of which are the audio interface @PC) sound card, firewire or ,C= deviceD that
you are using, your PCHs characteristics, as well as which software youHre 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 and2or '$ 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 F 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.
Natency 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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$s if this wasnHt complicated enough, remember that <indows is performing all sorts of other tasks at the same
time as you are recording. )f you donHt believe this, ?ust bring up Task anager some time, check the
Processes page and have a look. ThatHs what we mean by 'u-ias&ing.
Co how is <indows able to keep up with its other RR or so tasks at the same time as handling your recording3
)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 youHve got a problem. The same principle applies, but in the reverse direction,
when youHre recording. $nd again, when youHre layering or overdubbing, or using '($P('Hs input monitoring,
both activities are going on at the same time.
)f the buffers are too small, youHll get gaps in the audio stream. These can lead to pops, crackles and in some
cases even dropouts @thatHs when playback and2or recording ?ust stops suddenly and une+pectedlyD. 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. ThatHs when you e+perience unacceptably
large latency, such as the delay between pressing a keyboard and hearing the note in your headphones.
$C)A drivers generally offer better latency than do others. $s a rule, the preferred order is $C)A, <D, Direct:
and (, in that order. This is where the A5/( 8onfiguraion button on the Audio 6evice screen is so
important @assuming, of course that you are using $C)A driversD.
+#e s'a--er #e buffer siDe> #e greaer #e -oad on your co'puerNs 8PU.
Co after making changes to your buffer si;e, check the CP, usage on '($P('Hs Performance eter.
Jou 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
cardHs control
software and
increasing the buffer
si;e.
Finally. Tust a word
about 5a'p-e Rae.
This also affects CP,
usage. .oing from
&&%"" to 55!""
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 55!"". Test this out for yourself and see what you think.
$nother important aspect of your $udio preferences is your 2/6/ 6evices settings page. This has been
covered in Chapter %.
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"C - REAPER;s Preferences and (#er 5eings
"C.A Audio Preferences
This page presents
you with a range of
audio preferences
and options. any,
if not most, users
will find they can
leave at least the
first half do;en or
so of these at their
default settings and
forget them.
<hether to 8-ose audio device %#en sopped and app-icaion inacive. (nabled, this allows you to
have other audio programs @such as Cound ForgeD open at the same time as '($P(',and for you to be
able to switch easily between them.
8-ose audio device %#en inacive and rac&s are record ar'ed. Neave this unselected if you want
'($P(' not to share your audio device with other programs when you have record armed tracks.
8-ose audio device %#en sopped and acive. )f enabled, '($P(' will automatically close audio
devices when audio is not being played back.
(nabling )arn %#en unab-e o open audio$2/6/ devices could potentially help you to troubleshoot
if you encounter hardware interface issues.
(nabling the options 6o no process 'ued rac&s and2or Reduce 8PU use of si-en rac&s during
p-aybac& could lessen the load placed on your CP,.
5o-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.
5o-o in fron allows you to hear Guietly 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
enabled2disabled from the (pions menu1 in your preferences you can set your preferred d= level for the
background material.
Jou can Auo'aica--y 'ue any rac& or only the 2aser 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
auo'aic 'uing. There is also an option to Rese @clear auto mutesD on playback start.
8#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 %.
Autput to be used for 2erono'e (upu.
>ote that Audio> 6evice preferences and settings are e+plained in Chapter %.%! and Audio> 2/6/ 6evice
preferences and settings in Chapter %.%Q.
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"C.A." Audio 4uffering
<hile we9re looking at optimising audio, the Audio 4uffering page of the Preferences window contain a
number of customi;ation options.
The option 6isab-e 'edia buffering for rac&s #a are se-eced can be useful if using a third party plug-
in that does not respond well to buffering. Atherwise, 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.
Anicipaive F7 processing has benefits for
both multiprocessor and single processor systems.
An single processors it makes '($P(' more
tolerant of lower interface latencies @and more
resistant to plug-ins that do larger block-based
processing, such as 'eaPerb and 'eaFirD. An
multiprocessor2multicore systems it also allows for
very significant multiprocessor usage. (nabling
this feature may allow improved latency.
An some <indows 5 or AC : avericks
configurations, enabling Use ne% a-ernae
%or&er #read sc#edu-ing might lead to
improved performance.
>otice also that clicking on the Advanced 6is&
/( (pions button brings up the selection of
options shown on the right.
)f unsure about what you are doing, it9s better to
leave these settings at their defaults. $ny changes
you do make should not come into effect until after closing and reopening your pro?ect file.
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"C - REAPER;s Preferences and (#er 5eings
"C.A.2 Audio P-aybac&
$mong the useful
options on this
page are1
<hether or
not to sop$
repea
p-aybac& a
pro9ec
end.
<hether to
sop
p-aybac& a
#e end of
a -oop if
repeat is
disabled.
<hether to
scro-- #e
vie% o #e
edi cursor
posiion
%#en
p-aybac& is
sopped.
<hether to
auo-scro-- when viewing other parts of a pro?ect.
<hether to run F7 afer p-aybac& is sopped1 this can be good for evaluating the 8after effect8 of delay
based plug-ins such as reverb and chorus.
<hether to enab-e scrubbing and 9ogging, and if so what options to apply in its implementation @such
as limiting ?og speedD.
>ote that there is also a command on the (pions menu to enable2disable 8oninuous scro--ing.
"C.A.@ Audio 5ee&ing
Aptions include1
<hether to see& p-aybac&
@repositioning the play cursorD
when clicking on any of the top
ruler, empty areas of tracks,
and2or empty areas below tracks.
Disabling any of these will enable
you to click or click and drag in
arrange view @for e+ample, on the
ruler to define a loop, or in the
empty area between tracks to
define a time selectionD without affecting e+isting playback.
<hether to see& p-aybac& %#en -oop poins are c#anged and2or (n-y %#en repea is enab-ed.
<hether to see& p-aybac& %#en an ie' is 'oved$siDed or #as is fade ad9used.
<hether playback position should fo--o% #e pro9ec i'ebase %#en c#anging e'po.
<hether to use s'oo# see&1 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.
"C.A.4 Audio Recording
Audio Recording preferences are detailed and e+plained in Chapter 0.
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"C.A.A Audio ,oop Recording
This page of settings determines how
'($P(' behaves when loop recording.
6iscard inco'p-ee 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.
2/6/ recording %i#in e'py
i'e se-ecion a-%ays creaes
se-ecion--eng# 'edia ie'. (nable this to ensure )D) media item matches time selection length.
Add recorded 'edia o pro9ec on sop. (nsures that media will not be added to the pro?ect until
recording is stopped. Aptionally, you can creae ne% fi-es for each recorded pass thru the loop.
Add recorded 'edia o pro9ec a eac# -oop. (nsures that recorded media is added on the fly after
each pass thru the loop.
"C.A.? Audio Rendering
These are found on the page after
Audio ,oop Recording preferences.
They are rather technical1 if you are
unsure of what to do, leave them at
their system defaults1
=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 @default is onD.
<hether to limit apply F:2'ender stems to realtime @default is offD.
<hether to process all tracks @including if appropriate muted and2or unsoloed tracksD 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:.
"C.? 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. Lere is a summary of some of the options1
2isce--aneous Appearance 5eings include1
<hether to use oo-ips for U/ e-e'ens such as buttons and faders, media items and envelopes, etc.1
if so you can specify the length of any delay that should be allowed before the tooltip is displayed.
The %id# Ein pi3e-sF of #e p-ay cursor. Default is % pi+el, but you can make this wider.
Jou can specify a 'a3i'u' disance Epi3e-sF be%een ru-er e3 -abe-s.
<hether to s#o% #e -as undo even on #e 'enu bar @?ust after the Lelp commandD. )f you
enable this option, clicking on the action shown will open the ,ndo Listory window.
<hether to s#o% guide-ines %#en ediing. This can be an aid to editing. <hether to app-y so-id
edges to time selection highlights. and2or loop highlights.
<hether to -i'i #e sca-ing of oo-bar buons. (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-oaing oo-bar %indo%s in fra'es.
<u'ber of pi3e-s o -eave be%een ad9acen rac&s F 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.
2a3i'u' nu'ber of -anes o be used %#en s#o%ing over-apping ie's. $ lower setting here @!
to &D can help prevent screen clutter.
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"C - REAPER;s Preferences and (#er 5eings
Enve-ope 5eings include1
<hether to
use fi--ed
auo'aion
enve-opes1
enabled, this
colors the
area below
the envelope
and may
make its
shape easier
for the eye to
discern.
Chowing 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%
#oriDona- grid -ines in automation lanes.
"C.?." Appearance 2edia
For the most part these fall into two
main groups F 2edia ie' -abe-s
and 2edia ie' buons.
2edia ie' -abe-s1 <hether to
disp-ay ie' a&e na'es and2or
'edia ie' pic#$p-ay rae
and2or gain @if setD.
)f showing any of these you can
choose whether to dra% -abe-s
above #e ie' ra#er #an
%i#in #e ie'. )f you enable this
option you can also specify E3cep
%#en 'edia ie' #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 ie' a&e -ane #eig# is -ess #an = setting.
Jou can also decide whether to use a so-id bac&ground for easier reading and %#e#er o s#o% -abe-s
%#en ie' 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. Jou can also determine how rate2pitch data is shown F e.g. normal, abbreviated, or numbers.
2edia ie' buons: ostly these are paired @e.g. Nocked2,nlocked, uted2,nmuted, F:2>o F:D. Choose
which of these buttons you want displayed over or above your media items.
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Ad9us 'edia ie' vo-u'e by dragging. Jou 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.
"C.?.2 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.
Jou can specify whether you wish
to 6isp-ay pea&s for 'edia
ie's and2or 6isp-ay pea&s
%#i-e recording.
Jou can also choose not to show
peaks for unselected tracks and2or
muted2unsoloed tracks F (n-y
disp-ay pea&s for rac&s #a
are se-eced and (n-y disp-ay
pea&s for rac&s #a are
so-oed or no 'ued will give
you this.
Ania-ising is a technical issue.
.oogle if you wish to learn more,
but, in short, enabling antialiasing
may give you a more accurate
representation1 disabling it may
cause your peaks to be
drawn2redrawn more Guickly. 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 don9t.
Jou can opt to Auo'aica--y sca-e 2/6/ noes and2or dru' 2/6/ to fit the item as displayed in arrange
view.
There are also options to 6ra% %avefor' Dero -ines above pea&s$%avefor's and to Fi-- %avefor's o
Dero -ine.
The option to 5ca-e pea&s by pre-f3 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,
Autlined samples, Ctepped samples or Cmooth.
(nabling 6ra% fain pea&s in fo-der rac&s allows the output of a folder9s child tracks to be displayed as
waveforms in the folder9s lane in arrange view.
5a'p-e -eve- %avefor' vie% determines how waveforms are displayed when ;oomed in so close as to be
able to identify individual samples F e.g., dots and lines, filled, outlined, stepped or smooth samples.
8uso' 8o-ors. Jou have the options to +in 'edia ie' %avefor' pea&s or +in ie' bac&ground to
any of +rac& 8o-or, /e' 8o-or or +a&e 8o-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.
Jou can also specify your reGuired in sreng# to be used for media item backgrounds, within a range of " to
&, where ! is the system default.
$lso in this section is the option Auo'aica--y co-or any recording pass #a adds a&es o e3ising
'edia ie's. This can help to give a clearer picture when you are working with multiple takes.
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"C - REAPER;s Preferences and (#er 5eings
"C.?.@ Appearance Fades$8rossfades
These options give you more precise
control over media item fades and
crossfades.
Jou can specify a minimum item
%id# and2or #eig# reGuired
before a fade can be edited.
Jou can enab-e or disab-e 'ouse
ediing of fade curves and2or fade
starts and ends.
Jou can decide under which
circumstances you do and do not want fade handles and crossfade ediing #and-es to be displayed.
Jou can indicate whether or not you want crossfade edior #e'e co-ors to be used.
"C.?.4 Appearance> +rac& 8onro- Pane-s
Track control panel settings include1
<hether to use cuso' rac&
co-ors as a background color
on track labels @in TCP and
mi+erD and whether to in
rac& pane-s @in TCP and
mi+erD with custom track colors.
<hether to use rac&
grouping indicaors, and if
so which ones.
The ne+t four items on this page set
2eer updae freIuency, 2eer
decay rae, 2eer 'ini'u'
va-ue and 2eer 'a3 va-ue.
,nless you have good reason to
change them, leave them at their
system defaults.
There are several further options
which together define how your track meters will appear. Af special interest are1
Rese 'eer pea& indicaors on p-ay see&. Disable this to keep the e+isting peak level displayed @until
e+ceededD when you re-commence playback.
5ic&y c-ip indicaors @enabledD ensure that peaks on the P, meter are marked with a bar for a few
moments after they have passed.
5#o% d4 sca-es on rac& 'eers if enabled will cause the d= scale to be marked, in numerals, on your
P, meters.
The final two options are fader option which can be used to restrict the ad?ustable range of your volume
and2or pan faders. Jou can also specify whether pan fader unis should be displayed as ranging from
%""KN to %""K' or from -R" d= to WR" d=.
"C.?.A Appearance> +#e'e Edior
The ne+t settings page, Appearance> +#e'e Edior, is covered in Chapters &, %" and %%.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
0OR
Up and Running: A REAPER User Guide v 4.72
"C.7 Ediing 4e#avior Preferences
The Ediing 4e#avior page of the (pions> Preferences window @shown aboveD 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. Lere is a summary of some of the most useful options1
Jou can specify your edi cursor be#avior, in particular which of the following actions should cause the
edit cursor to be moved1 Changing time selection, Pasting or inserting media, Ctopping recording.
Jou can allow s#if c-ic&$conro- c-ic& to override your move edit cursor assignments.
Jou can by default link @or unlinkD time selection and loop points.
Jou can enable or disable loop points to be cleared by clicking on the ruler, and2or 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 won9t want loop points
automatically cleared.
Jou can specify your Qoo' preferences. Verica- Doo' options are Track at center of view, Top visible
track, Nast selected track or Track under mouse cursor. *oriDona- 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.
Jou can set the ab o ransien sensiiviy and specify whether to +ab #ru 2/6/ noes and2or
+rea 'edia ie' edges as ransiens.
6ua- ri' opions @for editing shared media item edgesD.
<hether to auo'aica--y de-ee e'py 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 split2trim2delete all items at edit cursor if splitting2trimming2deleting with no items selected.
Disabling this will prevent, for e+ample, all items being split if you press 5 with no item selected.
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"C - REAPER;s Preferences and (#er 5eings
"C.7." Ediing 4e#avior> Enve-ope 6isp-ay
Jou can specify various diverse envelope editing options, including1
Celecting the decibel range within which vo-u'e envelopes can be ad?usted.
Cpecifying a semitone range for per take pitch envelopes, also whether or not to snap.
Cpecifying a display range @beats per minuteD for the master pro9ec e'po 'ap enve-ope.
<hether or not to 5#o% ne% enve-opes in separae 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 poins are also selected with a i'e se-ecion.
<hether the first click on an an unselected envelope will insert a point1 check also your mouse modifier
settings.
<hether to add a ransiion poin on stopping playback after recording automation.
<hether or not to Auo'aica--y s#o% affeced enve-opes %#en 'oving daa across rac&s.
Chowing these can sometimes be visually confusing.
<hether 8#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 poins @at start and end of time selectionD are added to envelopes when points are
moved, or when ripple editing, or when inserting time. Jou can also sepcify a reGuired transition time
for automatically created envelope points.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
0#%
Up and Running: A REAPER User Guide v 4.72
"C.7.2 Ediing 4e#avior> Auo'aion
<hether to Auo'aica--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 auo'aion 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 )rie mode, whether to app-y para'eer c#anges o #idden enve-opes. Anly enable this if
you are sure about what you are doing1 otherwise you risk making accidental changes to envelopes.
<hether to add ransiion poins %#en recording auo'aion %#i-e p-aybac& is sopped.
<hether to reduce enve-ope poin daa 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.
Aptions are $lways, )n read2write mode only, or >ever. Cetting this to >ever may make the manual
editing of such envelopes easier @by leaving you plenty of room both above and below the envelopeD.
Afer recording auo'aion in %rie 'ode %#e#er o auo'aica--y s%ic# o one of #e
o#er 'odes. The trim2read option is handy if you are inclined to forget to do this manually*
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"C - REAPER;s Preferences and (#er 5eings
"C.7.@ Ediing 4e#avior> 2ouse Preferences
The 2ouse page of the (pions> Preferences> Ediing 4e#avior window @ aboveD is used to determine
specify how you would like your mouse to behave in '($P('. Lere is a summary of some useful options1
2ouse%#ee- arges1 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 /gnore #e 'ouse%#ee- on a-- faders. (nabling this and2or the ne+t two options
can help prevent those of us who tend to be heavy handed from accidentally changing faders levels.
<hether to use or /gnore #e 'ouse%#ee- on rac& pane- faders.
<hether to use or /gnore #e 'ouse%#ee- over ranspor edi fie-ds. )f disabled, you can edit te+t
fields such as =P and play rate ?ust by scrolling your mousewheel over the field.
<hether to treat scrolling a -apop rac&pad as being like using a mousewheel.
<hether 2ouse c-ic& on rac& fader or buon 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 reGuire a sing-e click or a doub-e click when ediing rac& na'es.
<hether 2ouse c-ic&$edi in rac& vie% c#anges #e rac& se-ecion. (nabling this will ensure that
track selection will follow media item selection.
<hether to A--o% 'odifying edges of i'e se-ecion over ie's in rac&s. (nabling this means that
you can click and drag over a track @as well as between tracksD to ad?ust the start or end of a time
selection without affecting item selection.
)n addition, for (5 7 users on a ac, there is an option 8r- -ef c-ic& e'u-aes rig# c-ic&. Lowever, it
is a better practice to use your Cystem Preferences to enable right-clicking.
The topic of 2ouse 2odifier preferences is covered e+tensively in Chapter %0 and elsewhere.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
0#0
Up and Running: A REAPER User Guide v 4.72
"C.7.4 Ediing Preferences> 2/6/ Edior
F-as# 2/6/ edior &eys on rac& inpu1 if enabled, causes a brief color flash to be displayed on the
)D) editor keyboard when the track receives )D) note-on input.
R4< friend-y 2/6/ edior seings: allows '($P('9s )D) editor to behave in a way compatible with
'=> @'ock=andD )D) authoring. For e+ample, lyric events will be attached only to playable notes.
*oriDona- grid -ines in 88 -anes1 toggles the option to show hori;ontal grid lines on and off.
Evens per Iuarer noe %#en dra%ing in 88 -anes. Cpecific event density or ;oom dependent.
(ne 2/6/ edior per = Celect whether a separate )D) editor instance is reGuired for each item, or for
each track, or one instance for the entire pro?ect. Depending on your choice you may have other options.
4e#avior for open ie's in bui--in 2/6/ edior1
)f (ne 2/6/ edior per pro9ec is selected, specify whether to open c-ic&ed ie' on-y, a-- se-eced
2/6/ ie's, a-- 2/6/ ie's on #e sa'e rac& or a-- 2/6/ ie's in #e pro9ec.
)f (ne 2/6/ edior per pro9ec is selected, you also have four more toggle options. These are1
Acive 2/6/ ie' fo--o%s se-ecion c#ange in arrange vie%. This option is also available if (ne
2/6/ edior per rac& is selected.
<hether to make (n-y 2/6/ ie's on #e sa'e rac& as #e acive ie' ediab-e.
<hether to 8-ear edior %#en c#anging acive 2/6/ ie'.
<hether to 8-ose 2/6/ edior %#en #e acive 2/6/ edior is de-eed in arrange vie%.
6oub-e-c-ic& be#avior1 <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 and2or already editable.
<hether doub-e-c-ic&ing ouside #e bounds of a 'edia ie' s#ou-d e3end #a 'edia ie'.
Aption to display a panel showing more information about multiple media items in a single )D) editor.
Cet (paciy for noes$88 in inacive 'edia ie's. The higher the number, the darker these notes
will appear.
6efau- noe co-or 'ap1 allows you to specify your own default note color map.
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"C - REAPER;s Preferences and (#er 5eings
"C.B 2edia Preferences
The 2edia page of the (pions> Preferences window lets you customi;e your edia settings. Lere is a
summary of some of the options that you might find most useful.
/e' Purpose
2edia 5eings )#en insering 'u-ip-e 'edia ie's1 Jou can choose whether the default
behavior should be to insert as separate tracks, to insert seGuentially in a single
track, for '($P(' to determine which appears the more appropriate, or whether
you wish to be prompted each time.
8opy insered 'edia ie's o pro9ec 'edia direcory1 <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 Auo'aica--y na'e unna'ed rac&s
on 'edia i'por.
)avefor' 'edia
pea& cac#e seings
Generae pea& cac#es1 Jou can determine the circumstances in which you want
peak caches to be generated.
6esired cac#e reso-uion1 Determines the precision used for media peaks.
Aption to Pu ne% pea& fi-es in pea&s$subfo-ders re-aive o 'edia.
Aptions to use an A-ernae pea& cac#e pa#.
2edia ie' ediing
seings
2edia ie' vo-u'e ad9us'en range1 Cets this to -inf to " d= or -inf toWO d=.
6up-icae a&e F7 %#en sp-iing1 Determines whether any e+isting F: in an
item9s F: chain are automatically copied to new items that are created when the
original item is split.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
0#Q
Up and Running: A REAPER User Guide v 4.72
"C.B." 2edia> 2/6/ Preferences
2/6/ ocave na'e disp-ay offse1
by default, middle C @)D) note O"D is
labelled C&. $n offset of, say, -% would
cause this to become C0, and so on.
The 5end a---noes-off option is
intended to stop hanging notes when
record arm is disabled.
A--o% ri' of 2/6/ ie's %#en
sp-iing will add a note-off message
for any note that spans the split point
when a )D) item is split.
Poo- 2/6/ source daa is discussed
and e+plained in Chapter %!. Jou can
disable this if you prefer.
)tems created or imported as '($P('
2/6/ ie's @rather than .)D filesD
can be better edited in the )D)
(ditor. .2/6 fi-es are more portable
between apps. Jou can, of course, create them as )D) items and later e+port to file if you wish.
Ticks per Guarter note sets data resolution for new )D) items. The default setting of RO" eGuates to ! ticks per
microsecond at %!" bpm.
Jou can specify when /'poring 'u-ic#anne- 2/6/ fi-es whether to do so as a series of single channel
tracks, as one multichannel track, or always to prompt.
5nap 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.
2/6/ e3 evens are by default e+ported in $CC)) format1 you have the option of changing this to ,TF-5.
"C.B.2 2edia> Video$RE7$2isc Preferences
The Video options relate mostly to
performance and playback Guality.
Jou can select an engine for video
decoding F PNC, FFmpeg or your
operating system9s native format.
The best permutations of settings will
depend largely on which platform you
are using @e.g. <indows #D as well as
your choice of video systems and
format. )f you need help you should
post to one of the '($P(' forums.
The RE7 options include how you
wish to /'por RE7 fi-e conens.
This can be as beat slices that will
ad?ust to tempo changes, or as single
loopable media items, or to prompt.
Jou can specify whether RE7 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'pored 'edia %i# e'bedded e'po is to be handled.
Jou can always ad?ust the media to pro?ect tempo, import it at its own tempo, or always prompt.
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"C - REAPER;s Preferences and (#er 5eings
"C.C P-ug-ins Preferences
Jour two Auo'aica--y resiDe F7
%indo%s options, if enabled, will ensure
as you browse thru a track9s F: chain
that the F: window is automatically
resi;ed to suit the currently selected F:.
Jou can specify if f-oaed F7 %indo%s
should automatically be placed on top, if
ne%-y creaed F7 %indo%s should be
floated, and if windows should be
automatically opened for F: added from
the TCP and CP conte+t menus.
Jou can specify whether or not to auo-
doc& ne%-y creaed F7 %indo%s and
whether you want the Add F7 window opened automatically when you open an empty F: chain for a track or
media item.
The two Auo-posiion options if enabled will ensure that '($P(' will try to find a good position for floated F:
and2or F: chain windows rather than cascade them on top of others.
)f you enable the option to (n-y a--o% one F7 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 @(pen F7 %indo% on rac&
se-ecion c#angeD and whether this is to happen on-y if an F7 %indo% is open.
Jou can also opt to have rac& F7 added o #e ie' F7 buon rig# c-ic& 'enu. This enables you to
open these F: directly from this button.
Jou can also specify how many F: are to be shown on the conte+t menu Recen-y added -is and whether
curren rac& F7 should be shown on the F: button conte+t menu.
"C.C." P-ug-ins> 8o'paibi-iy
The main options here concerns PCT 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 auo'aic
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.
"C.C.2 P-ug-ins> V5+
Jou have already seen @in Chapter %D how to tell '($P(' the location of your PCT plugins, and how to ensure
that these are enabled. )n addition, the V5+ 8o'paibi-iy section offers a number of further options for
controlling the behavior of your PCT plug-ins.
Jour preferences in this category are 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. Jou may need
to e+periment to get the best results. =e prepared to ask Guestions on the '($P(' forum.
"C.C.@ P-ug-ins> Re)ire$67
'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 8#ec& %#en saring 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 pro9ec seings.
6irec-7 E67F plug-ins are by default Enab-ed. Jou can 5can for ne% 67 p-ug-ins manually or specify
5can for 67 p-ug-ins on startup.
"C.C.4 P-ug-ins> Rea5crip
This topic is discussed briefly in Chapter !!.
"C.C.A P-ug-ins> Rea2oe
This topic is discussed briefly in Chapter !!.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
0##
Up and Running: A REAPER User Guide v 4.72
"C."! 8uso' U/ +%ea&s
The Genera- page of the (pions>
Preferences window includes an Advanced
U/$5yse' %ea&s button which enables you
to further customi;e '($P('Hs on-screen
appearance. Clicking on this button displays a
number of options including1
8uso' 5p-as# 5creen F $ .=P or .P>. file.
Use -arge %indo% fra'es for windows.
5ca-e U/ E-e'ens @such as buttons on
toolbarsD. This can be useful if you are working
with a very high screen resolution.
A--o% rac& enve-ope$rouing %indo%s o
say open. Celect this option if you want track
routing and envelope windows not to be closed
automatically when they use focus.
Advanced syse' 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 reGuire a restart of '($P('.
"C."" Pro9ec and Fi-e 2anage'en
Jou 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?ectHs media files into that
directory. aking use of this option
will make it easier for you to keep
track of your work.
Lowever, 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 reGuired. Jou can easily
remove these unwanted items,
using the command Fi-e> 8-ean
8urren Pro9ec 6irecory.
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 folderHs 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 8r- key while you click on each
reGuired file name. To select all files in the list, click first on the first file name then, holding the 5#if key, click
on the last name in the list. Jou then have the option to either delete these files permanently from your hard
drive, or to send them to the <indows 'ecycle =in @as shown hereD.
$fter making your selection, click on the Re'ove 5e-eced Fi-es button to remove them.
DonHt forget also to bac&up your work regularly, to a flash drive, e+ternal hard disk, CD or DPD, or more than
one of these. The easiest way to back pro?ects up is to simply use the <indows file management system.
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"C - REAPER;s Preferences and (#er 5eings
"C."2 8uso'iDing #e Perfor'ance 2eer
Jou can customi;e the information shown on the performance
meter, making your selections from its conte+t menu @see rightD.
$mongst the items that can be displayed or hidden are1
CP, .raph CP, ,se
Disk ,se '$ ,se
Free Cystem '$ F: CP, use
The Performance eter track list can be sorted by clicking on
any column heading,
)f 'eaote has been installed and enabled @see chapter !!D, the
Performance eter will display an additional 'eaote column.
The Performance eter can also be docked or undocked.
<oe1 The 'T @8'eal Time8D CP, meter measures the amount of
CP, time used by the audio thread servicing the sound device.
Cince 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 @and few tracks record armedD, 'T CP, will generally be
pretty low, as most things should be done asynchronously,
allowing the real time thread to Guickly put things together.
"C."@ 8uso'iDing Undo *isory 4e#avior
$s already discussed @Chapter !D, three important features of '($P('9s Genera- preferences that enable you to
customi;e your ,ndo Listory behavior are1
Cave ,ndo Listory with pro?ect files.
$llow load of ,ndo Listory.
Ctore multiple redo paths where possible.
$ll of these features can be selected from the Undo 5eings section of the (pions> Preferences> Genera-
screen.
)f you enable the option to 5ore 'u-ip-e
redo pa#s %#ere possib-e then during your
current work session, any time you use the ,ndo
Listory 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 F7 o 8#ain is flagged
with EY2F. 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 5ave undo #isory %i# pro9ec fi-es and A--o% -oad of undo #isory,
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 /0" go to ,U,U.co'
0#R
Up and Running: A REAPER User Guide v 4.72
"C."4 Rese REAPER 6efau- 5eings
'($P('9s default settings and configuration can be restored from the <indows Ctart menu.
%. Click on the 5ar button then A-- Progra's.
!. Click on REAPER then on REAPER Erese configuraion o facory 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.
"C."A 5o'e (#er REAPER (pions
The following are some of the items that appear on the
(pions menu. any of these have been covered
elsewhere in this ,ser .uide. )n many cases the function
of these commands is self-e+planatory1
Record 'odes1 Cee chapter 0
Auo-crossfade 'edia ie's %#en ediing1 on2off
toggle.
+ri' conen be#ind 'edia ie's %#en ediing1
on2off toggle.
5#o% a-- a&es in -anes1 on2off toggle.
+a&e -ane be#avior1 Chow or hide empty take lanes.
$llow2disallow selecting of empty take lanes.
5#o% over-apping 'edia ie's in -anes1 on2off
toggle.
Ripp-e ediing1 three way toggle F off, per track or all
tracks.
/e' grouping enab-ed1 on2off toggle.
5nap$Grid1 enable snapping toggle, show grid toggle,
access snap2grid settings.
,oc&ing^ on2off toggle, access lock settings.
2erono'e$prero--1 on2off toggle, access metronome
settings.
Enve-ope poins1 sub menu of options also available by
right-clicking on envelope button.
,oop poins -in&ed o i'e se-ecion1 on2off toggle.
Auo'aica--y scro-- vie% during p-aybac&1 on2off
toggle.
5'oo# see&ing1 on2off toggle.
E3erna- +i'ecode 5ync#ronisaion1 toggle synchronisation on2off, access to synchronisation settings.
5#o% REAPER resource pa# = 1 shows location of '($P(' resource files in <indows (+ploreror AC :
Finder type window.
8uso'iDe 'enus$oo-bars...1 opens customi;e menu2toolbars window.
+#e'es1 displays sub-menu of installed color themes.
,ayous1 displays sub-menu of track and mi+er layouts.
Preferences1 opens Preferences window.
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2! - 2ain Rig#-8-ic& 8one3 2enus 5u''ary
2! 2ain Rig#-8-ic& 8one3 2enus 5u''ary
)f you9ve 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 track9s mute button and you9ll get
a menu of various mute options. 'ight click over a media item and you9ll 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 isn9t room here to review every
one of '($P('9s right click conte+t menus in detail, but in
this section you9ll find a summary of the ma?or ones.
2!." +#e +rac& 8onro- Pane- 8one3 2enu
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.
8o''and 8o''ens
/nser ne% rac& )nserts a new track after the currently selected track.
/nser ne% rac& a end of rac& -is )nserts new track after last track in pro?ect.
/nser virua- insru'en on ne% rac& = )nserts and builds PCTi2D:i on new track.
/nser rac& fro' e'p-ae )nserts a new track based on any e+isting template. Affers you a
submenu of templates.
5ave rac&s as rac& e'p-ae = Caves all tracks in current selection as a single track template.
Re'ove rac&s 'emoves @deletesD any track or tracks currently selected.
6up-icae rac&s Creates a duplicate of any track or tracks currently selected,
immediately below the original track.
Render$freeDe rac&s Affers a sub-menu from which to choose an option for stem
rendering or free;ing the current track selection.
2/6/ rac& conro-s Affers a sub-menu of1
5#o% 2/6/ rac& conro- pane-
,in& rac& vo-u'e$pan o a-- 2/6/ c#anne-s
,in& rac& vo-u'e$pan o VspecifiedW 2/6/ c#anne-
,oc& rac& conro-s Toggles lock status of all parameter controls on selected track@sD.
Enab-e rac& free ie' posiioning Toggles free item positioning mode on and off for selected tracks.
Auo'aic record-ar' %#en rac&
se-eced
Toggles automatic record arm status for current track selection.
2u-ic#anne- rac& 'eering Toggles display of out put of all channels in track meter if the
track consists of more than ! channels.
+rac& 2anager Es#o%$#ide rac&sF Toggles display of Track anager window.
+rac& co-or Displays a sub-menu of track coloring options.
+rac& icon Displays a sub menu to show or hide icons for selected tracks.
5e rac& i'ebase Displays a sub-menu to set the timebase of selected tracks to
Pro?ect timebase @defaultD, time, beats @position, length rateD or
beats @position onlyD.
5e rac& auo'aion 'ode Displays a sub-menu to set automation mode for selected tracks
to Trim2'ead, 'ead, Touch, Natch or <rite.
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05%
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8o''and 8o''ens
+rac& perfor'ance opions Displays a sub-menu to enable2disable anticipative F: processing
and2or media buffering for selected tracks.
5e rac& -ayou Displays a sub-menu to choose a custom TCP and2or CP layout
for selected tracks.
Enve-opes Displays envelopes management sub-menu.
+rac& grouping para'eers = odify parameter settings for track groups.
+rac& grouping enab-ed (nables2disables track grouping for selected tracks.
2!.2 +#e E'py +rac& ,is Area 8one3 2enu
This menu is accessed by right-clicking anywhere in the empty area below the track list in the track pane area.
8o''and 8o''ens
/nser ne% rac& )nserts a new track below currently selected track.
/nser 'u-ip-e rac&s $llows you to insert more than one track at a time.
/nser virua- insru'en on ne% rac& )nserts a new track for a PCTi along with multichannel outputs if
reGuired.
/nser rac& fro' e'p-ae )nserts new track from any template you select.
5#o% 'aser rac& Toggles on and off the display of the master track.
2!.@ +#e +i'e-ine and Ru-er 8one3 2enu
This menu is accessed by right clicking the mouse in any of the following areas1
Aver the 'uler or Timeline displayed
above the first track @see rightD.
Aver the blank area above the ruler.
Aver the empty background area in the
Track Piew area.
$n e+planation of the menu follows.
8o''and 8o''ens
Re'ove se-ecion Deselects current time selection. 'emoving the selection does
not cause any media items to be deleted.
Qoo' se-ecion Soom to current time selection.
5e se-ecion o ie's 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.
E3end se-ecion o ne3 ransien in
ie's
(+tends the area of the selection to the ne+t transient.
/nser 'ar&er = )nserts marker and opens the $dd arker dialog bo+ at the
current cursor position.
8reae region fro' se-ecion Creates a region from the current selection.
/nser i'e signaure 'ar&er= $llows you to insert a time signature marker at the current
cursor position.
Re'ove a-- 'ar&ers fro' i'e se-ecion 'emoves all markers from the currently selected area.
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8o''and 8o''ens
5e pro9ec e'po fro' i'e se-ecion= Creates pro?ect tempo based on time selection @three optionsD.
8reae 'easure fro' i'e se-ecion
Edeec e'poF =
Creates a new measure from the current time selection
according to the si;e of the time selection.
8reae 'easure fro' i'e se-ecion Ene%
i'e signaureF =
Creates a new measure from the current time selection with a
new time signature.
8rop pro9ec o se-ecion Crops all media items in the pro?ect to the current time selection.
/nser e'py space in se-ecion )nserts an empty space eGual to the currently selected area into
all tracks in the current pro?ect.
Re'ove conens of se-ecion E'oving
-aer ie'sF
(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.
Pase Pastes any previously cut or copied item into the currently
selected track at the current cursor position.
5p-i ie's a cursor Cplits currently selected item or items at the current cursor
position. )f no item is selected, splits all items.
5p-i ie's a i'e se-ecion Cplits currently selected item or items at the start and end of the
current loop selection. )f no item is selected, splits all items.
5e-ec A-- Celects all media items.
8opy se-eced area of ie's Copies the selected area of selected items to the clipboard.
8opy -oop of se-eced area of ie's Copies the selected area as a loop.
2inues : 5econds
2easures O 4eas E2:5 secondaryF
2easures O 4eas
5econds
5a'p-es
*ours : 2inues : 5econds : Fra'es
These si+ options are mutually e+clusive.
Celect any one to set the unit of measurement used for ruler
display.
2!.4 +#e 2edia /e's 8one3 2enu
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.
8o''and 8o''ens
/e' seings Apens the )tem settings sub-menu @see belowD.
/e' properies= Apens )tem Properties dialog bo+.
5ource Properies= Apens Cource Properties dialog bo+.
Group Apens .roup sub-menu, to group or ungroup selected items,
+a&e Apens Take sub-menu for takes management @see belowD.
8o'ps Apens Comps sub-menu for comps management @see belowD.
/e' and a&e co-ors Apens color management sub-menu @see belowD.
/e' processing Apens )tem processing sub-menu @see belowD.
5rec# 'ar&ers $dd, snap or remove stretch markers.
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050
Up and Running: A REAPER User Guide v 4.72
8o''and 8o''ens
(pen ie's in edior Apens a submenu whose commands are used to open the
selected item2items @or copies of these itemsD with the editor
specified under Aptions, Preferences, (+ternal (ditorsD.
4ui- in 2/6/ edior Apens selected )D) item with '($P('9s )D) editor71 several
options.
App-y rac& F7 o ie's as ne% a&e This group of commands allows you to process selected items as
new stereo takes.
App-y rac& F7 o ie's as ne% a&e
E'ono oupuF
This group of commands allows you to process selected items as
new mono takes.
App-y rac& F7 o ie's as ne% a&e
E2/6/ (upuF
This group of commands allows you to process selected items as
new )D) takes.
Render ie's as ne% a&e 'enders selected items with any F: as new takes.
Reverse ie's as ne% a&e 'everses selected media item or items as a new take.
G-ue ie's
G-ue ie's %i#in i'e se-ecion
Toins selected media items into one new item.
8opy ie's
8opy se-eced area of ie's
8opy -oop of se-eced area of ie's
This group of commands offers three options for copying the
current selection to the clipboard.
8u ie's
8u se-eced area of ie's
This group of commands offers two options for cutting the
current selection to the clipboard.
Pase Pastes content of the clipboards to the currently selected track at
the current cursor position.
Re'ove ie's Deletes selected media items from the pro?ect.
+ri' ie's o se-eced area Trims media items to the currently selected area.
<udge$se ie's Apens the >udge2Cet )tems dialog bo+.
5p-i ie's a cursor Cplits currently selected items at current cursor position
5p-i ie's a prior Dero crossing Cplits currently selected items at the last ;ero crossings point
before the current cursor position.
5p-i ie's a i'e se-ecion Cplits currently selected items at the start and end of the
currently selected timeline area.
*ea- sp-is in ie's 'emoves splits and ?oins items as one again.
2!.A +#e 2edia /e's 8one3 5ub-2enus
Ceveral of the edia )tems conte+t menu
commands cause substantial sub-menus to be
displayed, including )tem settings, Take, Comp,
)tem and take colors and )tem processing.
These are e+plained below.
/e' seings 5ub 2enu 8o''ands 8o''ens
2ue
,oop ie' source
P-ay a-- a&es
,oc& ie'
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 Nock item.
/e' noes ... Apens )tem >otes window.
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/e' seings 5ub 2enu 8o''ands 8o''ens
/nver p#ase Toggles phase invert.
,oop secion of ie' source Toggles loop selection status.
Preserve pic# %#en c#anging p-ayrae Toggles preserve pitch option.
Reverse acive a&e 'everses the current active take.
+a&e c#anne- 'odes Ceveral mutually e+clusive options, including >ormal,
'everse stereo, ono @downmi+D, ono @leftD or ono@rightD.
Default is >ormal.
5e ie' i'ebase Four mutually e+clusive options used to set item timebase1
Pro?ect2track default, Time, =eats @position, length, rateD or
=eats @position onlyD.
/e' and a&es co-ors sub 'enu co''ands 8o''ens
5e ie's o ... Choose Custom Color, 'andom Color, Ane 'andom Color or
Default Color.
5e acive a&es o ... Choose Custom Color, 'andom Color, Ane 'andom Color or
Default Color.
+a&e sub 'enu co''ands 8o''ens
<e3 a&e
Previous a&e
Causes the ne+t or previous take to be selected.
6e-ee acive a&e Causes the currently active @selectedD take to be deleted.
8rop o acive a&e Crops all other takes for this item to the currently active take.
6up-icae acive a&e Creates a duplicate copy of the currently active take.
,oc& o acive a&e Nocks currently active take @toggleD.
5#o% F7 c#ain for acive a&e Apens F: chain for the currently active take.
Re'ove F7 for acive a&e 'emoves all F: from the takeHs F: chain.
+a&e vo-u'e enve-ope
+a&e pan enve-ope
+a&e 'ue enve-ope
+a&e pic# enve-ope
Toggles volume, pan, mute, pitch envelopes for take on2off.
E3p-ode a-- a&es o ne% rac&s
E3p-ode a-- a&es Ein p-aceF
E3p-ode a-- a&es Ein orderF
Three options for e+ploding takes.
/'p-ode ie's across rac&s ino a&es
/'p-ode ie's on sa'e rac& ino a&es
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.
Pase o a&es in ie's Pastes to takes in selected items.
+a&e -ane "> +a&e -ane 2> ec akes the selected take active.
8o'ps sub 'enu co''ands 8o''ens
5ave as ne% co'p ... Caves current takes selection as a new comp.
Re'ove acive co'p fro' -is 'emoves current comp from Comp sub menu.
8rop -is o acive co'p 'emoves all comps e+cept current one from sub menu.
2ove acive co'p o op -ane oves take selection for active comp to top media item lane.
5aved co'p na'es <here comps have been named, these are listed on, and can
be made active by selecting from, the Comps menu.
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05Q
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/e' processing sub 'enu co''ands 8o''ens
<or'a-iDe ie's >ormali;es all selected items, independently of each other.
<or'a-iDe ie's Eco''on gainF >ormali;es as far as possible all selected items, adding the
same amount of gain to each.
6yna'ic sp-i ie's = Apens the dynamic split dialog bo+ for dynamic splitting.
PuaniDe ie' posiions o grid Euanti;es the positions of selected items to grid settings.
2ove ie's o source preferred posiion oves items to original position.
/'p-ode ie's across rac&s ino ie's on
one rac&.
erges the selected items into a single track.
Auo-reposiion ie's in free posiioning
'ode
Cets the status of selected items to free positioning mode.
E3p-ode 'u-ic#anne- audio or 2/6/ ie's
o ne% 'ono ie's.
)f the media item is a multichannel one, this command will
create an additional new mono track for each channel used.
)f it is a )D) item, it will e+plode @or 6dissolve7D )D)
channels.
E3p-ode 2/6/ ie's by noe ro% Epic#F. Dissolves )D) items by note row instead of channel.
8onver acive a&e 2/6/ o in-pro9ec even Changes a previously ghost copied item into a pro?ect event
in its own right.
8onver acive a&e 2/6/ o fi-e Eg#os
copyab-eF
Changes the status of the active )D) take so that it can be
ghost copied.
/'por 'edia cues as pro9ec 'ar&ers Converts e+isting media cues in an imported item into
'($P(' markers.
2!.? +#e Record Ar' 8one3 2enu
This menu is accessed by right-clicking over the 'ecord $rm
button or P, meter of any track.
$n e+planation of the commands follows.
8o''and 8o''ens
2onior /npu =
2onior /npu E+ape Auo 5y-eF
2onior rac& 'edia %#en recording
Preserve P68 de-ayed 'onioring
The first two of these options are mutually e+clusive1 you
should select whichever of these you prefer if you wish to
use '($P('Hs input monitoring. Jou do not need to select
either of these options, however, if using any input
monitoring facility supplied by your sound card. Aptionally,
you may choose to also monitor track media when recording.
Record: inpu Eaudio or 2/6/F )n most cases, for normal audio recording you will want to
select Record: inpu to record the incoming audio signal.
Record: 2/6/ overdub in e3ising ie's
Record: 2/6/ rep-ace in e3ising ie's
Record: 2/6/ ouc#-rep-ace in e3ising ie's
Record: 2/6/ -ac#-rep-ace in e3ising ie's
,se any of these to select one of four )D) recording
modes e+plained in Chapter 0.
Record: oupu ,sed to record a track9s output @post F:D. Aptions include
multichannel, stereo or mono @with or without latency
compensationD and )D) output.
Record inpu Eforce for'aF ,se this command to force recorded input into mono, stereo,
multichannel or )D) format.
Record: disab-e Einpu 'onioring on-yF $llows for input monitoring without recording.
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8o''and 8o''ens
/npu: 2ono Displays sub menu from which to select the reGuired mono
input from your sound card.
/npu: 5ereo Displays sub menu from which to select the reGuired stereo
input from your sound card.
/npu: 2/6/ Displays a menu from which to select your reGuired )D)
device and channels
/npu: <one Disables recording input.
Auo'aic record-ar' %#en se-eced Causes the track to be auto armed when selected.
+rac& recording seings ... Apens Track 'ecording Cettings dialog bo+, used to change
recording format settings and2or input Guanti;e settings for
this track.
+rac& inpu F7 c#ain Apens F: browser to select F: to be used when input is
recorded.
2!.7 +#e Enve-opes 8one3 2enu
The envelope menu @leftD 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 5e poin va-ue= and 5e poin s#ape, you will find
the command 8reae ne% poin.
$n e+planation of this menu appears below.
8o''and 8o''ens
5e poin va-ue= Apens a dialog bo+ in which you can specify a different value for the
specific point, and, if you wish, position and shape.
5e poin s#ape Nets you specify any of the si+ available shapes for the current point.
5e s#ape for se-eced poins Cets shape for all points in current selection.
5e enve-ope defau- poin s#ape $llows you to change the default shape that will be applied to new
envelope points.
5e-ec a-- poins Celects all points in the envelope.
Unse-ec a-- poins ,nselects all points in the envelope.
5e-ec a-- poins in i'e se-ecion Celects all points on the envelope that are contained within the
currently selected area along the timeline.
8opy poins Copies currently selected envelope point or points to the clipboard.
8u poins Cuts currently selected envelope point or points to the clipboard.
Pressing 8r- V causes cut or copied points to be pasted onto
whichever envelope is currently selected, at the cursor position.
6e-ee poin Deletes the envelope point.
6e-ee se-eced poins Deletes all currently selected envelope points.
6e-ee poins in i'e se-ecion Deletes all points on current envelope that are contained within the
currently selected area along the timeline.
/nver se-eced poins Causes currently selected envelope points to be inverted.
Rese poins o Dero$cener 'esets all currently selected envelope points effectively to a 6neutral7
value.
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8o''and 8o''ens
Reduce nu'ber of poins 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.
Ar' enve-ope for recording $rms the envelope ready for recording, for e+ample to write
automation changes to the envelope.
5#o% enve-ope in -ane Determines whether envelope will be shown in its own lane or not.
*ide enve-ope Lides the envelope whilst keeping it active. Lidden envelopes can be
redisplayed using the (nvelopes window.
4ypass enve-ope Toggles the bypass state of the envelope.
8-ear or re'ove enve-ope 'emoves all points from the current envelope. Jou are prompted to
indicate whether you also wish to remove the envelope completely.
'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 commands1
E3ising avai-ab-e enve-opes1 ,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.
Auo'aion 'ode: Change your reGuired automation mode for this track.
2!.B +#e +ranspor 4ar 8one3 2enu
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.
8o''and 8o''ens
1u'p o 'ar&er Displays a fly out menu of markers. Click on any marker in the list to
?ump to it.
P-ayrae Displays a sub menu of options for ad?usting the play rate @with or
without preserving pitchD and to set the play rate fader range.
+ranspor Displays a sub menu of various actions eGuivalent to the Transport
control buttons - play, record, pause, stop, go to start, go to end, etc.
E3erna- i'ecode 5ync#roniDaion ,sed to synchroni;e '($P('Hs clock to an e+ternal device.
Auo'aica--y scro-- vie% during
p-aybac&
<hen selected, screen display follows play cursor during playback.
5'oo# see&ing Esee&s a end of
'easureF
<hen enabled, moves play cursor on stop2pause to end of measure.
Record 'ode: nor'a-
Record 'ode: i'e se-ecion auo
punc#
Record 'ode: auo-punc# se-eced
ie's
Celects one of the three recording modes e+plained in Chapter 0. The
three options are mutually e+clusive.
Use ru-er i'e uni (nsures that whatever time unit is selected for the ruler is also used on
the Transport =ar. $lternatively, you can select one of the other options
@see belowD.
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055
2! - 2ain Rig#-8-ic& 8one3 2enus 5u''ary
8o''and 8o''ens
2inues : 5econds
2easures O 4eas $ 2 5
2easures O 4eas
5econds
5a'p-es
*ours:2inues:5econds:Fra'es
Celect your preferred unit of measurement for display on the Transport
=ar. These options are mutually e+clusive.
5#o% p-ayrae conro- Toggles on and off display of playrate controls in transport bar,
5#o% i'e signaure Toggles on and off display of time signature in transport bar.
5#o% p-ay sae as e3 Toggles on and off te+t display of play state in transport bar F Playing,
Ctopped, etc.
8ener ranspor conro-s Toggles display of transport controls @Play, Ctop, etcD in center or on
left..
6oc& ranspor in doc&er Toggles docking transport bar in one of '($P('9s dockers.
6oc& ranspor in 'ain %indo% Toggles on and off docking of Transport =ar in '($P('9s main window.
6oc&ed ranspor posiion Affers a submenu of four options for the position of the transport bar
when docked in '($P('9s main window.
*ide ranspor Lides the Transport =ar. To redisplay, press 8r- A- +.
2!.C +#e Rouing 2ari3 8one3 2enu
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?ect9s life cycle. aking the right selection for the
right time can prevent screen clutter and make the matri+ easier to work with.
8o''and 8o''ens
2ari3 'ode Decides whether the routing or grouping matri+ is shown.
5#o% ---- as desinaion Determines which items are and are not shown as destinations for
sends in the header row.
5#o% ---- as sources Determines which items are and are not shown as sources of sends
in the left hand column.
6oc& rouing %indo% in doc&er Determines whether the matri+ is or is not docked.
2!."! +#e F7 )indo% 8one3 2enu
This menu is accessed by right-clicking
within any trackHs F: chain window.$n
e+planation of the commands on this
menu appears below.
8o''and 8o''ens
Add F7 = Apens $dd F: <indow to add one or more plug-ins to the F: chain.
F7 c#ains Displays a sub-menu with options for loading and saving F: chains.
FreeDe rac& Displays sub menu with options for free;ing @e.g. mono, stereo or
multichannel, up to last non-offline F: or up to last selected F:D.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
05R
Up and Running: A REAPER User Guide v 4.72
8o''and 8o''ens
8opy a-- F7 Copies all F: in chain to clipboard.
8opy se-eced F7 Copies currently selected F: to clipboard.
8u se-eced F7 Cuts currently selected F: to clipboard.
8opy a-- F7 Copies all F: in current F: window to clipboard.
Pase F7 Pastes F: from clipboard into current F: window.
Re'ove se-eced F7 'emoves all selected F: from current F: window.
Re'ove a-- F7 'emoves all F: from current F: window.
5e-ec a-- Celects all F: in current F: window.
+ogg-e se-eced F7 bypass Toggles bypass of all currently selected F:.
+ogg-e se-eced F7 off-ine Toggles online2offline status of all currently selected F:.
Rena'e F7 /nsance $llows you to assign a specific name for this instance of the plug-in.
)indo% f-oa se-eced F7 Floats selected F: so that they are displayed independently of the F:
window.
5ave c#ain as defau- for ne%
rac&s
akes the F: chain in the current F: window the default F: chain
automatically inserted when you create new tracks.
,oad defau- rac& c#ain Noads the current default F: chain into the currently open track F:
window.
4ui-d 'u-ic#anne- for oupu of
se-eced F7
Creates multichannel2multitrack where appropriate1 for use with
multichannel PCTis and D+is.
4ui-d "? c#anne-s of 2/6/ rouing
o #is rac&
<here appropriate, for use with multichannel PCTis and D+is.
6oc& F7 %indo% in doc&er Toggles the docked2undocked status of the F: window.
8-ose F7 %indo% Closes the F: window.
2!."" +#e 2edia E3p-orer 8one3 2enu
'ight-clicking over any vacant area within this
window produces a conte+t menu that is the same
as the edia (+plorer9s Aptions menu. )n addition,
right-clicking over the name of any media item will
produce its own conte+t menu.
8o''and 8o''ens
/nser ino pro9ec )nserts into selected track at play cursor position.
/nser a i'e se-ecion
Esrec#$-oop o fiF
)nserts into selected track at time selection, stretching2looping to fit.
/nser ino pro9ec on a ne% rac& )nserts at play cursor position on to a new track.
/nser as a&e in se-eced ie's $dds the selected item in the media e+plorer to the selected item in
$rrange view as a new take.
Use as 'edia source for se-eced
ie'
'eplaces current media source in item currently selected in $rrange
view.
Use as 'edia source for se-eced
ie' Esrec#$-oop o fiF
'eplaces current media source in item currently selected in $rrange
view, stretching2looping to fit.
Previe% Previews this item.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
0R"
2! - 2ain Rig#-8-ic& 8one3 2enus 5u''ary
2!."2 +#e 2/6/ /n-,ine Edior and 2/6/ Edior 8one3 2enus
'ight-clicking within the )D) )n-Nine (ditor the
conte+t menu shown here. These commands are a
subset of some of the )D) (ditorHs menu commands
and are e+plained in detail in Chapter %!.
The first section @from /nser noe a edi cursor
to <oe c#anne-D contains the same commands as
the right click notes menu in the )D) (ditor.
The <oe c#anne- command displays a sub menu
of channels % thru %O.
The second section @from PuaniDe evens to 5e
noe ends o sar of ne3 noeD can also be
found on the Edi menu in the )D) (ditorHs main
menu.
The Vie% command leads to a sub-menu similar to
the Piew command on the )D) (ditor main menu.
The remaining commands include some of the other
options found on the )D) (ditor9s main menu.
+#e 2/6/ Edior 2ain 8one3 2enu
'ight clicking over the title bar in the )D) (ditor @or
tab if dockedD 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 <avigae commands,
then Vie%, then Acions, then <avigae.
These commands are e+plained in detail in Chapter
%!.
+#e 2/6/ Edior edi area cone3 'enu
'ight-clicking on the editing area of the )D) editor displays
the menu shown here.
Come of these commands @e.g. Copy, CutD 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 5e-ec previous noe %i# sa'e
noe va-ue, 5e-ec ne3 noe %i# sa'e noe va-ue,
and 5e-ec a-- noes %i# sa'e noe va-ue.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
0R%
Up and Running: A REAPER User Guide v 4.72
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
0R!
Using REAPER %i# (#er App-icaions and 6evices
2" Using REAPER %i# (#er App-icaions and 6evices
2"." )#a is ReaRoueX
'ea'oute is an $C)A driver that
allows you to route audio to and
from any other $C)A enabled
application. 'ea'oute is only
installed on your system if you
select the ReaRoue A5/(
driver during the '($P('
installation process.
This option is found on the
'($P(' Cetup screen on the
8#oose 8o'ponens page
@shown rightD, under the
heading Addiiona-
Funciona-iy.
)f you did not have this option
selected @or if in doubtD 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 ReaRoue A5/(
driver appears in the $C)A
driver list for the other audio applications on your system.
<oe: Come users have reported problems with native $C)A drivers after installing the 'ea'oute driver. )f you
e+perience problems with your $C)A drivers after installing this feature, uninstall '($P(', then re-install with
this check bo+ cleared.
Ance '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 Conar. The same
principles apply, however, if you
are working with an application
such as Cubase or $bleton Nive
instead of Conar.
)n this section, you will be
introduced to using 'ea'oute
by working thru the following tasks1
Cetting up Conar @or any other D$< application of your choiceD to work with 'ea'oute.
Cending a pro?ect out from '($P(' to that application and recording it track by track within that
application.
Cending a pro?ect from Conar to '($P(', this time bringing it in as a series of submi+es. Jou can then
apply '($P(' features to that pro?ect.
,sing a stand alone synthesi;er workstation such as Pro?ect Q 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. Low you apply that knowledge, and what benefits you derive from it, is of
course up to you.
0R0
Up and Running: A REAPER User Guide v 4.72
2".2 5eing Up App-icaions for ReaRoue
=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 ReaRoue A5/( as the preferred driver, the second is to enable the various input and
output channels reGuired to transmit audio between the application and '($P('. <ith some applications, this
second step is not reGuired. The method will vary with the application, but always involve specifying your
preferences on the Audio 5eings dialog bo+ @or similarD.
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 reGuired.
<oe: =efore setting up or using any application for use with 'ea'oute, you should1
ake sure that the 'ea'oute $C)A Driver has been installed @see previous pageD, and
ake sure that '($P(' is open and minimised.
App-icaion /nsrucions
Ab-eon ,ive
%. (pions> Preferences then click on the Audio tab.
!. Cet 6river +ype to A5/(.
0. Cet Audio 6evice to ReaRoue A5/(.
&. Click on /npu 8onfig then on each input channel that you wish to enable,
then (H.
Q. Click on (upu 8onfig then on each output channel that you wish to
enable, then (H.
O. Close Preferences window.
F, 5udio
(pions> Audio 5eings, then select ReaRoue A5/( for (upu. Close
$udio Cettings window.
Pro9ec A
(pions> Audio then under Audio 6river 5e-ecion O (upus select
ReaRoue A5/( ReaRoue 8-ien -M REAPER " EA5/(F then (H.
5onar
%. (pions> Audio> Advanced then set Driver ode to A5/( then (H.
!. (pions> Audio> 6rivers then disable all e+isting drivers @input and outputD
0. (pions> Audio> Advanced then set Device to ReaRoue A5/( EB in> B
ouF then (H
&. (pions> Audio> 6rivers and enable all 'ea'oute drivers, then (H.
<oe: These instructions are for Conar 5.Q. Come earlier versions of Conar
reGuire 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 F 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.
+rac&ion
%. Click on the 5eings tab.
!. From the )ave 6evice drop down list choose ReaRoue A5/(.
0. 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 Pro9ecs tab when finished.
0R&
Using REAPER %i# (#er App-icaions and 6evices
2".@ 5ending Audio fro' REAPER o Ano#er App-icaion
=efore attempting this e+ample, make sure that you have installed the 'ea'oute $C)A Drivers and that you
have set up your other D$< application @such as Cubase, Conar, $bleton Nive, Tracktion or CamplitudeD 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 Conar. Jou might wish to do this, for e+ample,
to use Conar to apply P-Pocal to a vocal track. Af course, the same principles would apply if you were using a
different application other than Conar, such as Cubase, $bleton Nive, or Camplitude. Provided you know your
other application well enough and have already set it up to use 'ea'oute @see previous pageD you should have
no difficulty in applying these guidelines.
The general guidelines are1
Apen '($P('. )t is important that you open '($P(' before the other application.
Apen 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.
Apen the other application @e.g. ConarD 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 eGuivalent output used in '($P('. For
e+ample, if in '($P(' you set a trackHs output to 'ea'oute Channel %, then the corresponding new
track in Conar will need to have its input set to Neft 'ea'oute $C)A 'ea'oute '($P(' Channel %.
<ithin the second application, start recording. <ithin '($P(', play the song.
Ctop both when the song finishes.
Jou can then do whatever work you wish. $n e+ample follows shortly.
<hen finished, first close the other application and then close '($P('. Jou should always
remember F Apen '($P(' first, close it last.
Af course, in many cases it would be easier and Guicker 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+ample1
)t might not be easily possible to line up all tracks. Come may start and finish at different times.
Athers might consist of a large number of media items each of short duration. )t would be difficult
to import these piecemeal.
Come 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.
E3a'p-e
%. Ctart '($P('. Apen the file A-- +#roug# +#e
<ig#.RPP and save it as A-- +#roug# +#e <ig#
REAR(U+E.RPP.
!. Celect the first track. Display the 'outing @)AD
window for this track and add a hardware output to
ReaRoue 8#anne- " as shown @rightD.
0. Cimilarly, create hardware outputs for track ! to
'ea'oute Channel !, track 0 to 'ea'oute Channel 0,
and Track & to 'ea'oute Channel &.
&. Cave the file. inimi;e '($P('.
Q. Apen Conar @or whichever application you are
usingD. These instructions refer to CA>$' 5.Q and
assume that you are already familiar with how to
give commands and perform basic tasks in this
application.
0RQ
Up and Running: A REAPER User Guide v 4.72
O. Create a new pro?ect file containing four new audio tracks. Cave this as A-- +#roug# +#e <ig#
REAPER.c%p. >ame these tracks as shown below.
#. Cet the )nput for +rac& " to ,ef ReaRoue A5/( REAPER[M8,/E<+ " as shown below.
5. Cet the )nput for +rac& 2 to Rig# ReaRoue A5/( REAPER[M8,/E<+ "> the )nput for +rac& @ to
,ef ReaRoue A5/( REAPER[M8,/E<+ @> and the )nput for +rac& 4 to Rig# ReaRoue A5/(
REAPER[M8,/E<+ @. $rm all four tracks for recording.
R. Cave this file.
%". Ctart 'ecording.
%%. Cwitch to '($P(' and press P-ay. $s the song is played back, the tracks will be recorded in Conar. >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 Conar.
%!. <hen the song finishes, stop the recording in Conar, then stop playback in '($P('.
%0. )n Conar, unarm the four tracks.
%&. The file should now resemble that shown below. 5ave this file, then wait. <e will shortly be using Conar
to do some work on this file. eanwhile, keep '($P(' and Conar both open.
0RO
Using REAPER %i# (#er App-icaions and 6evices
2".4 5ending Audio Fro' Ano#er 6A) App o REAPER
Ctaying with the same e+ample, we are now going to use 'ea'oute to take our open Conar pro?ect and send an
audio signal back to '($P('. )n overview, this is how it is done.
Apen '($P(' and create a new pro?ect file. )nsert as many new tracks as you need.
Apen Conar. )n Conar, open the file you wish to work on, and assign outputs on a track by track basis to
your various 'ea'oute channels as reGuired. $rm these tracks for recording.
)nsert any F: @such as P-PocalD that you may wish to use in your Conar tracks.
$ssign the outputs of your Conar tracks to the various F: channels as reGuired.
Play the song in Conar, ad?usting your F: to suit.
<hen ready, start recording in '($P(', then play the song in Conar from the beginning.
<hen finished, stop both playback and recording.
E3a'p-e
)f you are carrying on from the (+ample in the previous section, go straight to step 0 below. Atherwise I
%. Apen '($P('.
!. Apen Conar, then open the file $ll Through The >ight '($P('.cwp F this file was created in the previous
e+ample.
0. )n '($P(', create a new
pro?ect file. Cave it as A--
+#roug# +#e <ig#
5(<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 ReaRoue "$
ReaRoue 2, as shown right.
Q. For the second of these tracks,
set the input to ReaRoue @$ ReaRoue 4. .ive both tracks a suitable name.
O. <e are going to use Track % to import the Pocal track from Conar, and Track ! to import an instrumental
submi+. For both these tracks, make sure that /npu 2onioring is turned on.
#. )n Conar, set the input of
all tracks to >one. Cet the
output of Track % to
ReaRoue A5/(
ReaRoue 8-ien
[MREAPER " , as shown
right.
5. )n Conar, for tracks !, 0
and & set the output to
ReaRoue A5/(
ReaRoue 8-ien
[MREAPER @
R. )n Conar, play the song in Conar. $d?ust the panning and levels of the instrumental tracks F Track ! &"K
Neft, Track 0 &"K 'ight, Track & Centre.
%". )n Conar, insert any Cakewalk F: reGuired for the vocal in the Pocal Track. For e+ample, you could use
the P:O& Pocal Ctrip.
%%. <hen you are ready, in '($P(', start recording.
%!. )n Conar, play the song from the beginning.
%0. <hen finished, stop both playback and recording, save your Conar file, then close Conar.
0R#
Up and Running: A REAPER User Guide v 4.72
%&. )n '($P(', unarm your tracks. Cave your pro?ect, which should now look similar to that shown above.
%Q. >otice that the first track contains the Pocal @with Cakewalk F:D and the second track the instrumental
submi+.
%O. Jou can now finish this pro?ect in '($P('. For e+ample, you could insert 'eaComp into the )nstrument
Cubmi+ Track, define this track as four channels, then create a send from the Pocal Track to channels 0
and & of the )nstrumental Track. This could then be used for audio ducking, to ensure that the voice floats
smoothly above the instruments. @$udio ducking is e+plained in detail elsewhere this ,ser .uideD.
2".A Using REAPER )i# a 5yn# )or&saion
Pro?ect Q from Cakewalk is a Cynthesi;er <orkstation application. )t9s been around for a few years now. Jou can
use Pro?ect Q or any other broadly eGuivalent product for this e+ercise. )n this section, you will see how
'ea'oute can be used to make the functionality of Pro?ect Q @or any similar applicationD 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 Q @or whichever synth app you are usingD to create musicD.
=efore proceeding with this section, you will need to ensure that your 'ea'oute $C)A drivers have been
installed @see Cection !".%D and that the Cynth <orkstation program has been set up to use them @see Cection
!".!D.
E3a'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 Q to record tracks onto '($P(' for an e+isting '($P(' pro?ect file.
%. Apen '($P('. Apen the file A-- +#roug# #e <ig# 5(<AR.RPP and save it as A-- +#roug# #e
<ig# PR(1A.RPP
!. $dd a track at the end of this
pro?ect. >ame this track
5yn#s.
0. $rm this track for recording,
turn input monitoring on and
set the Track )nput to Ctereo,
ReaRoue 8#anne- " $
ReaRoue 8#anne- 2.
&. Apen Pro9ec A and create a
new pro?ect file. Choose the
(pions. Audio command and
direct output to ReaRoue
A5/( ReaRoue 8-ien [M
REAPER " EA5/(F as shown
here.
0R5
Using REAPER %i# (#er App-icaions and 6evices
Q. For this simple e+ample, insert a synth of your choice into your Pro?ect Q pro?ect file. Af course, you could
if you wish insert several different synths and take full advantage of the programHs features, but for this
simple demonstration we will confine ourselves to ?ust the one.
O. <ithin '($P(', make sure your cursor is at the start of the pro?ect. Press Record.
#. <ithin Pro?ect Q, play the Cynth 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 Q.
5. <hen you have finished, save your Pro?ect Q file as ReaRoue 6e'o.pAp and close the program.
R. )n '($P(', unarm the Cynths track and save your file.
2".? 5yncing o an E3erna- 6evice
)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 seGuence1
'ight click over the P-ay button on the
Transport =ar. This opens the settings
dialog bo+ shown here.
Celect the )nput to be used. $vailable
sync types include $C)A Positioning
Protocol, TC and CPP.
Complete the other settings and close the dialog bo+. Jou 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# 8-ic& over
the Play button toggles this slave to timecode on and off.
REAPER 5ync +ypes E5u''aryF
5ync +ype 8o''en
A5/( Posiioning Prooco- 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. 'eGuires that your audio hardware uses
$C)A !." drivers.
,inear +i'e 8ode E,+8F This is the same as CPT(. )t is a time based method of
synchroni;ation which uses hours, minutes, seconds and frames.
2/6/ +i'e 8ode E2+8F $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 CPT( code that is transmitted via the
)D) cable.
5ong Posiion Poiner E5PPF 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.
0RR
Up and Running: A REAPER User Guide v 4.72
+#e 8one3 2enu
The commands for enabling2disabling e+ternal
timecode synchroni;ation and for changing
the settings are also available on '($P('Hs
+ranspor 4ar conte+t menu and on the
main (pions menu.
Assignab-e Acions
The following actions are assignable using the
keyboard shortcut editor @$ctions, Chow
$ction NistD1
Chow e+ternal timecode synchroni;ation settings.
Toggle e+ternal timecode synchroni;ation.
5ending 8-oc&$5PP fro' REAPER o an e3erna-
2/6/ 6evice
To send Clock2CPP data from '($P(' to an e+ternal )D)
device, you need to enable the feature under (pions>
Preferences> 2/6/ 6evices.
Double-click on the device name to open the 8onfigure
2/6/ /npu dialog bo+, and select the option 5end
8-oc&$5PP to output.
2".7 Generaing and 5ending +i'ecode
The command /nser> 52P+E ,+8$2+8 +i'ecode
Generaor @from the main menuD 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 5ource properies
from the conte+t menu to display the settings bo+ shown
here.
Celect NTC @linear2longitudinal time codeD or TC @)D)
time codeD and configure the various parameters as
reGuired.
&""
22 - 5o'e (#er REAPER Feaures E(vervie%F
22 5o'e (#er REAPER Feaures E(vervie%F
<eHve ?ust about come to the end of this ,ser .uide F and thereHs still a few things that we havenHt really told
you about* Ance you get up and running with '($P(', youHll find thereHs heaps more information available to
you on the '($P(' <)B) and of course thru the user forums. Jou can find these at1
http122www.cockos.com2wiki2 and http122www.cockos.com2forum2
)n this section, we are ?ust going to introduce you in overview to some of these features, ?ust so that youHll get
an idea of some of '($P('Hs other capabilities.
22." REAPER and Video
'($P(' can be used to edit the soundtrack of your video files, such as .$P), .P. and .<P files. These files
are imported using the /nser> 2edia Fi-e command, or by simply
dragging and dropping into '($P('9s $rrange window. )n addition, you
can use the +rac&> /nser +rac& fro' +e'p-ae command to import
data from a .(DN file. ,se the Vie%> Video )indo% command,
8r- 5#if V, to show the Pideo <indow. For <indows users, video
playback is handled by Direct Chow1 AC : uses Euick Time.
,se the (pions menu in this window@ shown rightD if you wish to resi;e
it. Ather commands on this menu included Video ie' properies. This
opens a window revealing the properties @length, video, audio, decoding
format, etc.D of the video item.
)n Pro?ect Cettings @Chapter !D you can
specify a frame rate, and you can set
your grid line spacing to frame
@Chapter &D.
Jou cannot perform any video editing
within '($P(', but you can work on
the soundtrack. Jou can edit the
e+isting soundtrack, and2or 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 .<$P file. This can be
imported back into the original video file using a program such as Pegas.
)n addition, the Fi-e> Render command can be used to e+port a video file from '($P(', for e+ample in .$P)
format. Celect the (upu 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 /0" go to ,U,U.co'
&"%
Up and Running: A REAPER User Guide v 4.72
@file format, codecs, frame rate, bit rate, etc.D. 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$inde3.p#p$Video:5uppor 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.
22.2 Rea5crip
'eaCcript is a scripting language that takes your ability to customi;e '($P(' well beyond that offered by the
$ctions Nist editor. <ith 'eaCcript, you can not only create more powerful and sophisticated macros, you can
even create your own e+tension
commands. For <indows users to
use 'eaCcript, you will first need to
have the Python scripting language
installed on your computer.
'eaCcript isn9t for everyone F in
fact, because it reGuires an
understanding of programming it
probably isn9t for most people. Jou
can find out more about 'eaCcript
by choosing *+2, ,iss then
Rea5crip docu'enaion from
'($P('9s *e-p menu, and by
clicking on the option Vie%
Rea5crip *e-p on the Plug-ins,
'eaCcript page of '($P('9s Preferences window.
For more about 'eaCcript and how to get started see also
http122www.cockos.com2reaper2sdk2reascript2reascript.php
To be able to use 'eaCcript, enable it under (pions> Preferences> P-ug-ins> Rea5crip @aboveD. An the
E3erna- Ediors preferences page you can also specify an e+ternal editor for writing and editing scripts.
22.@ Rea2oe
'eaote is '($P('9s 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 @to run
various F:D without upgrading your main host9s CP,. Jou will need to set up 'eaote and install '($P(' and
your plug-ins on the slave machines.
For AC : users, 'eaote can be installed when '($P(' is installed, by dragging and dropping the 'eaote icon
into the $pplications folder icon. For <indows users, make sure when installing '($P(' that you have
Rea2oe selected and enabled under Addiiona- funciona-iy on the 8#oose co'ponens page of the
install wi;ard. 'un the 'eaote slave on the slave machines, then enable Rea2oe in the REAPER
Preferences on the master, specify your settings and options, and you9re ready to go*
To learn more about how to set up and use 'eaote, go to %i&i.coc&os.co'$%i&i$inde3.p#p$Rea2oe.
22.4 REAPER and </<1A2
>)>T$ is an innovative software program that allows musicians to collaborate in 8fake time8 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 8session8 @audio onlyD. '($P(' has the ability to
import these recorded session files to allow you to edit and mi+ at your leisure. 8Fake time8 means that some
players will hear a delayed version to which they play along.
To learn more about the >)>T$ software or download a copy, visit %%%.coc&os.co'$nin9a'$
To learn more about using >)>T$ with '($P(', visit the Cockos <)B)
%i&i.coc&os.co'$%i&i$inde3.p#p$</<1A2:6ocu'enaion
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
&"!
2@ - +roub-es#ooing REAPER
2@ +roub-es#ooing REAPER
This section aims to help you resolve problems that are sometimes encountered by new users.
2@." /npu$(upu /ssues
/npu (upu /ssues
Prob-e' 6iagnosis and Possib-e 5o-uion
)#en / p-ay bac&> 'y audio
rac& is si-en> even #oug#
#ere is aciviy in #e rac&Ns
VU 'eer.
The problem is likely to be either with your routing in '($P(', your
sound cardHs settings or with your audio hardware setup.
REAPERNs Rouing:
ake sure that the trackHs 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.
5ound 8ard 5eings:
,se the control software supplied with your soundcard to make
sure that none of the following has occurred1
Autput muted, or volume lowered too much.
Autput patched to different hardware output.
Audio *ard%are 5eup:
ake sure that the amplifier is connected to the same outputs on
the soundcard as the output of the aster.
ake sure that everything is connected to the power supply,
switched on, and with appropriate volume levels.
,se <indows Device anager @Control Panel, Cystem, Lardware,
Device anager, Cound Pideo and .ame ControllersD to ensure
the device is enabled and functioning correctly.
+ips:
Apening a different audio application and playing any wave file
can help you determine whether the problem lies within '($P('
or with your Cound Card or $udio Cetup.
/ ge an error 'essage o #e
effec #a 2/6/ deviceEsF
canno be opened
The device may not be connected, or may be in use by another
program.
Check that the device is connected and supplied with power.
Check whether another program has use of the )D) device.
Check that you have not accidentally opened '($P(' twice.
)#en / p-ay bac&> 'y audio
rac& is si-en> and #ere is no
aciviy in #e rac&Ns VU
'eer.
The problem is likely to be specifically related to that track or item,
especially if you have other pro?ects which do play correctly.
ake sure that the track has not been muted.
ake sure that the item has not been muted @right click over item,
)tem PropertiesD.
Check the F: <indow for the track to make sure there is no F:
which is causing the track to be silenced.
Check the trackHs volume fader to make sure it is not set too low.
)#en / p-ay bac&> / donN #ear
so'e or a-- of a rac&Ns F7
being app-ied
The problem could be happening in the trackHs F: window or in the
plug-inHs own window, or both.
Check that the trackHs F: <indow has not been set to bypass
mode.
Check that the individual F: has not been set to bypass mode.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
&"0
Up and Running: A REAPER User Guide v 4.72
/npu (upu /ssues
Prob-e' 6iagnosis and Possib-e 5o-uion
This might occur in the F: Chain window or with some plug-ins
within the plug-inHs own window.
Check that the plug-inHs <et2Dry mi+ setting @where presentD has
not been set to %""K dry.
)#en / p-ay bac&> / ge c-ic&s>
pops> suers or dropous
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 remedies1
Consider whether you can rearrange your mi+ to use fewer CP,
intensive 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 55!"" or %#O&"", try
a lower one. .o to File, Pro9ec 5eings and reduce the
Cample 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 Guality.
Consider increasing buffer si;e. This will increase latency, but
should not be a problem when playing back. .o to Aptions,
Preferences, Audio 6evice. Click on $C)A Configuration to bring
up the Control Coftware for your sound card. )ncrease buffer si;e,
perhaps to %!5" samples.
Check your Audio 4uffering preferences, especially for F7
processing$'u-iprocessing. =e prepared to e+periment with
'ender ahead si;e and with which options are allowed.
)#en / p-ay bac&> #e 2aser
c-ips ino #e red and disors>
even #oug# #e rac& -eve-EsF
appear Iuie -o%
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+
)#en / p-ay bac&> #e audio
sounds c-ipped> even #oug# i
doesnN appear o be visib-y
c-ipping any%#ere
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 is2are being
directly routed to the same audio hardware output as the aster.
)f this isnHt the cause of the problem I
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.
)#en / ry o p-ay an
i'pored 2/6/ rac&> i is
si-en
This can be a routing, sound card or setup issue F 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) Autput device or
software synthesi;er.
)f you are using a )D) Lardware device, display the trackHs
'outing <indow and make sure it is assigned to a )D) Lardware
Device.
)f you are not using a )D) Lardware device, display the F:
<indow for the track, and insert a software synthesi;er of your
choice @usually D:i or PCTiD.
)#en / ry o record audio>
no#ing is recorded
The problem here could lie either with your '($P(' settings or with
your hardware set up.
ake sure the track is armed for recording.
ake sure that the track has been assigned an input.
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
&"&
2@ - +roub-es#ooing REAPER
/npu (upu /ssues
Prob-e' 6iagnosis and Possib-e 5o-uion
Check @Aptions, Preferences, $udio DeviceD that your range of
audio inputs has been defined and enabled.
ake sure under the Aptions menu that you have the correct
reGuired 'ecord ode set @usually this should be >ormalD.
Check that 'ecord )nput is enabled. Ar, if you have selected
'ecord Autput, check the F: window for any F: that could be
silencing the trackHs output.
ake sure that the microphone or lead for the instrument being
recorded is connected to the correct audio input.
)f the microphone reGuires phantom power, make sure that the
phantom power supply is enabled.
Check your audio input mi+er @e+ternal hardware desk, sound card
mi+er software, or bothD to make sure that the incoming signal is
correctly routed.
Check your audio input mi+er @e+ternal hardware desk, sound card
mi+er software, or bothD to make sure that the incoming signal is
not muted.
/ donN #ave enoug# 8PU o
p-ay bac& 'y pro9ec
$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 F7 o ie's as ne% a&e or App-y F7 o ie's as ne%
a&e E2onoF.
2@.2 REAPER /nerface /ssues
/nerface /ssues
Prob-e' 6iagnosis and Possib-e 5o-uion
)#en / press 5pace Eor so'e
o#er +ranspor 8onro-F>
no#ing #appens
This happens when focus is with another window, such as the 'outing
atri+, or an open Dialog =o+. Two possible solutions are1
.ive focus to another view such as the Track Piew 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.
)#en / ry o p-ace #e edi
cursor e3ac-y %#ere / %an i>
i 'oves a -i-e
Cnapping may be enabled. )f so, use the Aptions, (nable Cnapping
command to disable it.
)#en / ry o 'a&e a i'e
se-ecion> #e sar and end
poins 'ove fro' %#ere / %an
#e'.
Cnapping may be enabled. )f so, use the Aptions, (nable Cnapping
command to disable it.
/ add a Vo-u'e or Pan enve-ope
o a rac&> bu %#en / p-ay bac&
ake sure that $utomation ode is set to 'ead and the envelope is
armed.
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
&"Q
Up and Running: A REAPER User Guide v 4.72
/nerface /ssues
Prob-e' 6iagnosis and Possib-e 5o-uion
#e fader does no 'ove.
/ record 'u-ip-e a&es on a
rac&> bu on-y #e -as one is
visib-e.
To view all takes for a track, choose the Aptions, Chow $ll Takes in
Nanes 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.
)#en / 'a3i'iDe a rac&> #e
%rong rac& is disp-ayed
Check your Pertical Soom =ehavior settings under Aptions, Preferences,
(diting =ehavior. Jou probably want to set this to Nast Celected Track.
)#en / Doo' in #oriDona--y>
#e edi cursor disappears fro'
vie% and / -ose 'y p-ace
Check your Lori;ontal Soom =ehavior settings under Aptions,
Preferences, (diting =ehavior. Jou probably want to set this to (dit
Cursor or Play Cursor.
/ ry o vie% a %indo%> suc# as
4ig 8-oc& or Perfor'ance 2eer>
bu / canN see i on #e screen
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
C1UDocuments and CettingsU,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;ed1
[flac encoder defaults\
defaultMsi;e4%!
default4O0O%OCOO%""""""""Q""""""$=
[bigclock\
wndMvis4%
wndMleft4RO#
wndMtop4O""
wndMwidth4&!O
wndMheight4%0#
timeMmode4"
[namecache\
$nalogM)nM%MDeltaM%"%"MM%M4)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('.
2y Undo *isory %indo% is
c-uered %i# every ie' and
rac& se-ecion / 'a&e
.o to Aptions, Preferences, .eneral and disable Create ,ndo
points for item2track selection.
2@.@ +roub-es#ooing Record 2odes and 2onioring
)t can be difficult at first to understand how various permutations of '($P('9s record modes @available from the
Aptions menuD and monitoring options @from a track9s arm record conte+t menuD can be used together to obtain
different results.
) am indebted to 1o#n 4erci& for supplying me with the information in summary form that is contained in the
table below1
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
&"O
2@ - +roub-es#ooing REAPER
Record 2ode 2onior (pions 4e#aviors
<or'a-
2onior inpu (<
2onior rac& 'edia %#en
recording (FF
<hen stopped1 monitors live material only
<hen playing1 monitors e+isting and live material continuously
<hen recording1 monitors live material only
2onior inpu Eape auo
sy-eF (<
2onior rac& 'edia %#en
recording (FF
Ctopped1 monitors live material
Playing1 monitors e+isting material only
'ecording1 monitors e+isting and live material
2onior inpu (<
2onior rac& 'edia %#en
recording (<
Ctopped1 monitors live material
Playing1 monitors e+isting and live material continuously
'ecording1 monitors e+isting and live outside punch, only live
inside punch
2onior inpu Eape auo
sy-eF (<
2onior rac& 'edia %#en
recording (<
Ctopped1 monitors live material
Playing1 monitors e+isting material, then only live in punch
'ecording1 monitors e+isting material, then only live in punch
+i'e 5e-ecion
Auo Punc#
2onior inpu (<
2onior rac& 'edia %#en
recording (FF
Ctopped1 monitors live material
Playing1 monitors e+isting and live material continuously
'ecording1 monitors e+isting and live outside punch, then only live
material in punch
2onior inpu Eape auo
sy-eF (<
2onior rac& 'edia %#en
recording (FF
Ctopped1 monitors live material
Playing1 monitors e+isting material only
'ecording1 monitors only e+isting material outside punch, then only
live material in punch
2onior inpu (<
2onior rac& 'edia %#en
recording (<
Ctopped1 monitors live material
Playing1 monitors e+isting and live material continuously
'ecording1 monitors e+isting and live outside and inside punch
2onior inpu Eape auo
sy-eF (<
2onior rac& 'edia %#en
recording (<
Ctopped1 monitors live material
Playing1 monitors only e+isting material
'ecording1 monitors e+isting material outside punch, then e+isting
and live inside punch
Auo Punc#
5e-eced /e's
2onior inpu (<
2onior rac& 'edia %#en
recording (FF
Ctopped1 monitors live material
Playing1 monitors e+isting and live material continuously
'ecording1 monitors e+isting and live outside punch, then records
and monitors live material in selected items
2onior inpu Eape auo
sy-eF (<
2onior rac& 'edia %#en
recording (FF
Ctopped1 monitors live material
Playing1 monitors e+isting material only
'ecording1 monitors only e+isting material outside punch, then
records and monitors live material in selected items
2onior inpu (<
2onior rac& 'edia %#en
recording (<
Ctopped1 monitors live material
Playing1 monitors e+isting and live material continuously
'ecording1 monitors e+isting and live outside punch, then records
and monitors live material in selected items
2onior inpu Eape auo
sy-eF (<
2onior rac& 'edia %#en
recording (<
Ctopped1 monitors live material
Playing1 monitors only e+isting material, then only live in punch
'ecording1 monitors e+isting selected item@sD, then records and
monitors live material in selected items
For a spiral-bound hard copy of this ,ser .uide for about /0" go to ,U,U.co'
&"#
Up and Running: A REAPER User Guide v 4.72
,nlock your inner '($P(' with REAPER 4 Un-eas#ed0
&"5
/nde3
/nde3
1
14-bit CC messages........................214
14-bit MSB/LSB CC data...............218
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...........34
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, 32
AS./ dri,ers..................................32
AS./ 7ositioning 7rotoco3.............3$$
AS./4ALL......................................!
AS./4ALL 18indo4s2....................22
associated 0ro)ect 5i3e.....................2!
Attac% -oc'er..................................(!
Attac'.............................................28!
a*dio b*55ering...............................34
A*dio C- .mage............................34$
a*dio C-, b*rning..........................3(3
a*dio C-, im0orting 5rom................74
a*dio c3ic's and 0o0s.....................31
A*dio de,ice....................................22
A*dio -e,ice....................22, 31, 32
A*dio -e,ice, enab3ing..................4!(
a*dio dro0o*ts................................31
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............................33
A*dio 7re5erences............................24
A*dio 7rob3ems..............................4!3
A*dio set*0......................................22
a*dio stream...................................32
A*dio S6stem...................................22
a*to 0*nc%........................................1
a*to 0*nc% recording........................
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
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.......................................31
b*55er si<e, increasing.....................4!4
b*55ers............................................31
B*rn A*dio C-..............................3((
B*rn A*dio C- .mage....................3((
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....................14, 2$
c%anne3 s4itc%ing *ti3it6.................3!7
c%anne3s..........................................2$7
c%or*s.............................................28
c%romatic M.-. item, creating.......11
c%romatic midi, *sing.....................11
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......................................32
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
&"R
Up and Running: A REAPER User Guide v 4.72
c*rsor be%a,io*r.............................37!
c*stom actions, creating.................2((
c*stom actions, *sing.....................2(7
c*stom co3ors.................................38
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$!
-
-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'.................34$
d6namic com0ression.....................33$
-6namic s03it.........................1(8, 1($
-6namic S03it................................1$
-6namic S03itting..........................137
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
en,e3o0e 0ane3................................318
en,e3o0e 0oint, mo,e.....................32!
en,e3o0e 0oints, se3ect m*3ti03e......32!
En,e3o0e Settings...........................37
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
"
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.................3(!
"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..................................$1
"rame 9ate.......................................32
5ree item 0ositioning.......................134
"ree .tem 7ositioning.......................(
"ree<e =*anti<ation........................22
5ree<e trac's....................1!(, 1!, 1$
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.................................34
"# 7rocessing 73*g-ins....................18
"# 9emo,e......................................41
"# re03ace......................................1!1
"# Sa,e C%ain.................................41
"# Sa,e C%ain as de5a*3t.................4!
"# 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
@
@ain................................................278
&%"
/nde3
g3oba3 a*tomation o,erride.............318
@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
+
%ard4are o*t0*ts, s0eci56ing..........184
%armonies, creating........................14
+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
.
.// 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.............................31
.n0*t Monitoring..................!, , 7
.n0*t ?*anti<e................................227
.n0*t, A*;i33iar6.............................2$8
.n0*t, Main.....................................2$8
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, mo,e......................................114
item, n*dge.....................................114
item, s3ide.......................................114
.tems, 3oc'ing.................................18$
E
Ees*sonic "#....................................38
Eogging.............................................$8
)ogging, 3oo0ed segment mode.........$8
)o6stic' M.-. de,ice, insta33ing.......2(
E*m0 &o............................................47
E*m0 to Mar'er......................388, 38$
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
'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............37
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......................!, 31, 34, 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, $
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, $
Loo0ing..........................................147
Loo0s...............................................4(
3o4 0ass 5i3ter.................................288
L&C........................................3$$, 4!!
L6ric e,ents....................................23(
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
&%%
Up and Running: A REAPER User Guide v 4.72
mar'ers, co06ing............................1(3
Mar'ers, 3oc'ing............................18$
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.........................37
media item 3abe3s............................37
Media .tem 7ro0erties....................13(
Media item settings........................37(
media item, s3i0 editing..................12
media items, co3o*rs.......................121
media items, de5a*3t settings..........31
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........................24
Men*s, c*stomi<ing................247, 24
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.-.....................................................
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, $
M.-. editing, in-3ine......................2!7
M.-. Editor............................2!8, 21
CC Lane.................................213
M.-. Editor Modes........................223
M.-. Editor 4indo4......................2!7
M.-. Editor, creating notes............22!
M.-. editor, manage trac's............1$
M.-. "i3es, im0orting......................74
M.-. "i3ter E,ents 4indo4............231
M.-. 5i3ters....................................2!8
M.-. +ard4are -e,ice..................4!4
M.-. +ard4are /*t0*t....................48
M.-. in0*t de,ice............................
M.-. in0*t 4it% se=*entia3 c%anne3s8
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
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 recording1
monitoring o0tions.........................4!
Mon'e6Hs A*dio.............................34
mo*se be%a,ior 0re5erences...........373
mo*se modi5ier settings, sa,e/restore
...................................................23
mo*se modi5iers37, 84, 114, 12$, 132,
13(, 13, 172, 2!8, 233, 247, 21,
32!
mo*se modi5iers, c%anging...127, 21,
32!
Mo*se Modi5iers, c*stomi<ing.......247
mo*se modi5iers, in M.-. editor....23
mo*se modi5iers, s%o4 3ist...............37
Mo*se, c*stomi<ing be%a,ior.........373
Mo*se4%ee3.....................................37
mo*se4%ee3 assignments................2((
Mo,e a33 media into 0ro)ect director6
.....................................................(4
M73............................................18, 32
M73 5ormat....................................34$
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$2
m*3ti03e instances, a33o4ing...........3(7
M*3ti03e .tem 7ro0erties.................17
m*3ti03e notes, editing....................222
m*3ti03e o*t0*t >S&i........................8
m*3ti03e 0ro)ect ,ersions.........2!, 3($
M*3ti03e &a'es....................2, 4, 13$
m*3ti03e trac's, inserting..................(
m*3tisam03ing.................................3!3
m*3titas'ing....................................32
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
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$
&%!
/nde3
Cote 7ro0erties.......................221, 222
note st63es.......................................22(
Cote0ad............................................28
n*dge item......................................114
C*dge/set items..............................118
/
/@@ >orbis......................................32
/0acit6.............................................(!
/0en 5i3e, "# set o55 3ine..................42
/0en i5i3e n ne4 0ro)ect tab ............(2
/0en items D................................384
/0en .tems 4it% Editor...................111
/0en 0ro)ect.....................................(2
/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
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.........38
0enci3 mode....................................132
0er5ormance meter..........................37$
7er5ormance Meter...................44, 32
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................................13
0itc% mani0*3ation..........................14
0itc% s%i5t................................11$, 13
0itc% s%i5t 03*g-ins..........................13
0itc% s%i5t, M.-. contro33ed............24!
0itc% s%i5ting..................................14
7itc% S%i5ting..................................2$
7itc%, c%anging...............................13
0itc%, 0reser,e in a*dio items.........17
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........17
73a6bac' 9ate, sing3e item.............17
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$
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..........................33
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..................38
7resence 9ange..............................273
7reser,e 7itc%.................................17
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$1
0ro)ect notes.....................................33
7ro)ect 7re5erences...........................(3
7ro)ect rendering............................347
7ro)ect Sam03e 9ate.........................32
0ro)ect settings...............................3($
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.........................($, !
7ro)ect &ime Base, c%anging............33
0ro)ect ,ersions..............................2!
0rom0t to sa,e..................................7
7*nc% 9ecording..............................1
?
=*anti<e..........................................1(8
?*anti<e.........................217, 22(, 233
?*anti<e e,ents......................22(, 233
?*anti<e se3ected e,ents.................22
?*anti<e strengt%............................22
?*anti<e trac' M.-. recording......227
9
9atio...............................................278
ra4 M.-. data................................21$
9eaCom0........................................27$
9eaCom0 com0ressor.....................2$7
9ea-e3a6................................274, 2$4
9ea"ir.............................................281
9ea@ate..........................................28!
9eaMote.........................................4!2
9eaMote S3a,e...........................2$, 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%.................................14, 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
&%0
Up and Running: A REAPER User Guide v 4.72
9ecei,es.............................48, 7(, 3!8
9ecent 7ro)ects.................................31
9ecord........................................34, (
record additiona3 items.....................(
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...8
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(2
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;...............348
9endering...............................171, 347
rendering a 5inis%ed song................3(!
rendering 0re5erences.....................3
rendering regions ...........................3(2
rendering, s*rro*nd 5ormat.............3(
re03ace "#......................................1!1
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........................................12
9E# 5i3es, 0re5erences....................12
9i003e Editing................................133
ro*nd-robin.....................................3!3
ro*ting............................................3!2
9o*ting.....................................48, 4!3
9o*ting E;am03es..........................2$1
9o*ting .nter5ace............................3!8
9o*ting Ma......................................(!
9o*ting Matri;...........(, (7, 3!8, 4!4
ro*ting 0rob3ems............................4!4
9o*ting 8indo4............................3!8
977 "i3es..........................................18
r*mb3e or %*m remo,a3..................281
S
sam03e 5i3e......................................3!1
sam03e rate.....................................4!4
Sam03e 9ate...................................32
Sam03es............................................4
sam03es, sa,ing..............................11
Sa,e c%ain as de5a*3t 5or ne4 trac's
...................................................3$!
Sa,e ne4 ,ersion o5 0ro)ect............2!
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
Scr*bbing.........................................$8
Seconds............................................4
See' 03a6bac' 4%en c3ic'ed.............(2
Se3ect A33................................383, 3$!
Se3ect a33 0oints in 3oo0 se3ection. . .387
Se3ect .tems....................................113
Send Master/7arent..........................88
send t60es.......................................2$(
Send, creating...................................43
Sends............................43, 48, 88, 3!8
Sends de5a*3t settings.....................3!
sends, adding to Mi;er...................17
se=*encer bab6...............................243
Set 0oint s%a0e...............................387
Set 0oint ,a3*e................................387
Set se3ection to se3ected items........382
Set s%a0e 5or a33 se3ected 0oints......387
Set &ime Signat*re.........................17!
S%o4 A33 &a'es .n Lane..................141
S%o4 A33 &a'es in Lanes............3, 4
S%o4 a*dio con5ig*ration on start*02$
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$$
so*nd card......................................31
So*nd Card Settings.......................4!3
So*nd S%a0ing...............................271
So*nd S%a0ing 73*g-ins.................272
So*rce Media Ba6..........................1$3
So*rce 7ro0erties............................123
So*rce 7ro0ertiesD........383, 38(, 38
S03it E,ents............................217, 221
S03it .tems......................................113
S03it items at c*rsor................383, 384
S03it items at time se3ection....383, 384
S03it .tems, +ea3.............................113
S03it notes *nder mo*se c*rsor.......221
S03itting C%anne3s..........................2$2
S77.................................................3$$
S77 Send........................................4!!
Start Men* S%ortc*ts........................18
start time, mar'ing..........................187
start time, setting............................187
Starting 9EA7E9.............................1$
start*0 o0tions................................3(7
Stem 9endering..............................1!(
Ste0 Se=*encer...............................218
&%&
/nde3
stereo en%ancer...............................287
Stereo to Mono con,ersion.............122
stereo trac', recording......................(8
Stereo, re,ersing.............................122
Sto0..................................................34
Stretc% mar'ers...............................18
s*bmi;, rendering...........................1!
S*rro*nd 0anner.............................3!$
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
&
&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 ......$
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.....11
time stretc%.....................................11$
&ime Stretc%ing..............................17
&ime-Based E55ects........................271
timebase...........................................32
timecode, inserting.........................4!!
&ime-i55erence 7an........................284
&ime3ine...........................................4(
time3ineA set *nits.............................4
&ogg3e 9e0eat...................................34
&ogg3e se3ected b60ass...................3$!
&ogg3e se3ected o553ine...................3$!
toni5ier............................................287
&oo3bar.............................................2!
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..........................28
too3bars, 53oating............................2$
too3bars, im0orting.........................28
&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
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
>
>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%.. . .8
>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$!
>S& 03*g-ins............................2(, 271
>S&i 0atc%/ban' 5i3es.......................7
>: 3e,e3s 03*g-in...........................287
>: meter 0re5erences.....................38
>: meters, reset 0ea's...................18
8
8A> 5ormat...................................34$
4a,e 5i3es, im0orting........................73
4a,es%a0er.....................................288
4a,es%a0ing distortion...................287
&%Q
Up and Running: A REAPER User Guide v 4.72
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(
#
#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
&%O