Reaper Handbook WITH Accessibility IN Perspective
by Victor Ferreira:
June 26, 2022 Update
Contents of this manual:
01: First steps, installation and initial configuration:
01.1:: Initial settings:
01.2: Osara Settings:
02: Notion of project, track, item, take and respective hierarchy:
02.1: New track:
02.2: Create track folders:
02.3: Save and manage projects:
02.4: Clues and elements from other projects:
03: Browse audio, select and edit tracks:
03.1: Select:
03.2: Ripple Mode:
03.3: Easy timeline navigation:
04: Effects:
04.1: Effects chain or effect chains:
04.2: Create shortcut for a plugin or effect:
04.3: Input effects or input effects:
04.4: Add an effect to favorites:
04.5: Copy and paste plugins or effects between tracks:
04.6: Delta function:
05: AutoPunch function or the chopped ones:
05.1: Takes over takes:
05.2: Create a talkback:06: Basic cue manipulation:
06.1: Context menus:
06.2: Track templates or track templates:
06.3: Show and hide clues:
07: Routing:
08: Project properties:
09: Sidechain:
10: Render/Consolidate:
10.1: Tips:
10.2: Wildcards:
10.3: Render in multiple formats at once:
11: Re-console:
12: Volume management:
12.1: Peak Watcher:
12.2: Automatically notify:
12.3: Using peak watcher:
12.4: Monitor level before recording:
12.5: During mixing and playback:
12.5.1: Gain Reduction or gain reduction:
12.6: Monitor in real time:
12.7: Read the rendered project level:
12.8: Using peak watcher after rendering:
12.9: Normalize:
13: Costum Actions or custom actions:
13.1: Manage shortcut keys:
13.2: Create action macros::14: Basic automation:
14.1: Example:
15: Snapshots:
16: Useful commands:
17: Some interesting operations:
17.1: View the size of the selected section in the desired format:
17.2: Delete time data from selection:
17.3: Add tags during recording/playback:
17.4: Saving a preset to an effect:
17.5: Add effect to an item: Item properties, take fx button:
17.6: Pre-reverb an item
17.7: Stretch markers:
17.8: Loop to sing or play over:
17.9: Silence a bit on a track:
17.10: Notion of 0 crossing:
17.11: Create samples associated with items to be played on the keyboard:
17.12: Using a vocoder:
17.13: Using TapeStop effect on an item:
17.14: Assign items to the keyboard by only changing the pitch and not the duration, all based on just 1
item:
17.15: Using frequency oscillators for volume and pan effects:
17.16: Using the metronome sound as an audio track:
18: Brands, regions and transients:
18.1: Transients:
19: Items: additional information:
20: Contiguous vs non-contiguous selection: 21: Midi sync and insertion of virtual instruments
21.1: Connect a keyboard to reaper:
21.2: Insert a virtual instrument:
21.3: Insert more than one instrument on the same track:
21.4:Grades
22: Compose and sequence in midi:
22.1: Quantization:
22.2: Quantize a part:
22.3: Sequence:
22.3.1: Set and change time:
22.3.2: Finding the tempo using the Tap Tempo function:
22.3.3: Finding the tempo by marking a loop in the song:
22.4: Midi editor:
22.5: Piano role:
22.6: General functions of the keys on the piano roll:
22.6.1: Functions of qwerty keyboard keys on piano roll:
22.6.2: Functions of the numeric keypad keys on the piano roll:
22.7: Select and move bars in the midi editor:
22.7.1: Based on time selection limits:
22.7.2: Based on time selection limits, but non-contiguous selection:
22.8: Interesting things you can do in the event view:
22.9: Humanization:
22.10: Step recording; stage recording:
22.11: Note:
23: Sampler function:
23.1: Separating batteries with ReaSamplOmatic:23.2: ReaEq:
23.3: Media explorer:
24: Create and work with sfz files:
25: Brief notes regarding keyboard commands:
25.1: Modifier keys:
25.2: Final Note:
Reaper version for windows:
01: First steps, installation and initial configuration:
Benefits:
1: It's a program called non destructive editor. This means that all treatment
that we give to the audio, only takes effect when we render the project or part of it. about the project and
about rendering, we'll talk later.
2: It's cross-platform, offers stability and speed, it's not expensive; only 50€.
The purchase of a license can last for more than 2 years, and normally covers two versions with
the respective updates.
Download at
www.reaper.fm.
For greater usability and accessibility, there are 2 plugins that must be installed, in order, after
Install Reaper:
SWS, in
http://sws-extension.org/
and Osara, at:
https://osara.reaperaccessibility.com/snapshots/.
After installation, we open the program for the first time, and it immediately asks to configure the
input and output devices. If the card already has an ASIO driver, or is ASIO-compatible, it is
the best option, because it will bypass the windows sound settings, and work as
standalone device.
If not, it will be necessary to install the generic ASIO driver, which may or may not be compatible with the
board, or a program like Synchronous Audio Router, which will create virtual devices with
accessible ASIO settings.
Note: The Synchronous Audio Router program will not solve the latency problem, it will
create virtual inputs and outputs for the audio, being more appropriate for situations like podcasts,
for example.
For music production, the ASIO option is the one that offers reliability and productivity.
If your sound card doesn't have the ASIO option, you can still install the generic driver
ASIO4All and configure from there.
However, there are 2 problems here:
Problem 1: If we choose the ASIO driver, Reaper gets that sound card dedicated to
he.
Solution:If we use that card for many programs, the best thing is to go to the sound settings, and
uncheck the box that says allow control in exclusive mode. Problem 2: As for other screen readers, I don't know, but NVDA is unstable and the system crashes.
Solution: place the screen reader from an alternative board, even if it's just a cockroach
for this effect.
At least with NVDA, my soundcard's generic ASIO driver settings don't
are accessible, but it also doesn't seem to be necessary to change anything, because the configuration by
defect solves the latency problem that exists with other drivers.
If the card is not ASIO compatible at all, you can always choose the virtual device
wasapi from Windows.
Either in one situation or in the other, in multitrack sessions, it is advisable to listen only to the master track and
disable monitoring of all tracks.
01.1:: Initial settings:
As with other programs, Reaper has a preferences menu that is accessed with
control p.
There are some settings that can be useful and even necessary right from the start.
In Patsh, you must choose a path where the program will store the plugins and instruments
VST, as well as pressing alt+enter, in the project properties, it is convenient to specify
where the projects will be stored, as well as the reapick files it creates, namely when
audio is inserted. We will see this later, but for now, it is important that these
settings get done.
As for reapick files, they are small registry files that it creates, similar to sfk files
created by Sound Forge, which contains information about peaks in the audio, but which basically
we can ignore. The trouble is, if we don't have a right folder for the program to store them,
are scattered throughout our workbook, or wherever we look for sounds.
In the Keyboard/Multitouch option, we will be able to choose whether we want the spacebar to work
to mark the checkboxes. It works, because otherwise we have to use the click
left of the screen reader.
01.2: Osara Settings:
To go to Osara preferences: control+f12.
The only thing worth changing are two boxes:
One that gives the scrub position in seconds, and the other that makes the screen reader stop
speak the play, pause, record keys. By scrub, we mean moving the cursor in the audio,
based on zoom settings.
These settings also allow the screen reader to announce the effects inserted in a
track or item, and also the musical notes in the midi editor.
If we don't want these ads, just uncheck the boxes.
To turn keyboard help on and off: f12.
List of actions and hotkeys: f4.
02: Notion of project, track, item, take and respective
Hierarchy: The fundamental element of work in Reaper is the project. The project is based on a file of
playlist, so to speak,which tells Reaper what to do with the audio and all other sources and
elements. All changes such as audio selection and cuts, effects insertion, volume,
panorama, etc., are recorded first, only in that project file and not in the audio in
that we are working on. So, when we open a session in Reaper, an
new project. When we save a project, the program creates a main file for it.
Along with this main file, all the audios and other elements of the
project.
The main file extension of this project is .rpp. Opening that file in Reaper,
loaded the audio tracks and all other constituent elements of the project.
Project contains tracks, tracks contain items, items contain takes. This is basically the
hierarchy of elements that we work with in Reaper.
For better organization, tracks can be grouped into folders.
For example, tracks referring to percussion instruments can be in a folder,
keyboards are in another, those referring to voices in another, and so on.
02.1: New track:
When we open the program, the desktop appears without any clues.
To create new track: control t.
Tracks are usually created for inserting or recording audio, but it doesn't always have to be that way.
Tracks can contain midi items, or simply be used as listening channels.
to which we route or route the signal we are processing.
With the properties key, we can define various parameters of the track, such as whether it is stereo or
mono, the input channels, etc.
To record on the track, we have to set it up.
To arm the track: f7.
To monitor the sound on the track: f8.
There is a small latency, but it is only in the playback, in the recording, there is no such problem.
Before starting recording, we can know which channel is being used.
To do so, with the track selected, we control the up arrow until we hear a number.
Alternatively, we can access the track's context menu with the properties key, but it is
slower. However, if we want to make changes to what the program assumes by default
as an input channel, we have to go that way.
To start recording: a.
To stop recording: again r or the spacebar.
If we use the spacebar, by default, the program asks if we want to save or delete
that file.
The same applies for as many tracks as you need to create.
You can also insert previously recorded audio into a track. Just select it and go to the menu
insert.
We can also insert several audios at the same time, either in separate tracks or in a single
track.
02.2: Create track folders:
For better organization of the tracks in the project, we can create folders, that is, divide the tracks by
categories within the project.
The various tracks can be organized into folders,like a document folder. Let's say we have 2 tracks with percussion, 2 tracks with keyboards, and 4 tracks with voices.
To sort everything into folders, we do the following:
Step 1: With the tracks named accordingly, we create two empty tracks, one for the beginning, the other
to the end of the folder.
Step 2: We copy the desired tracks to the space between these two empty tracks.
Step 3: We name the blank track above with the desired name and shift enter until
we hear folder.
Step 4: Go to the blank track below these two tracks, and shift enter until we hear end
of folder.
The folder is created.
If we want to close the folder, we press enter until close.
If we have all the clues in the project, when we reopen the project, only the
sorted folders with the tracks inside. To open the folders, just press enter until open, and the
folder is opened.
When we are not going to do anything with that folder, enter until close and the folder is closed.
This way, we don't always need to be with the up and down arrows track by track along
the entire project.
It is also possible to create subfolders within the folders.
For example, if we have a folder with the voices, inside that folder we can have a folder with the
main voices, another folder with the backs. This allows you to individually process each folder of
voices, and, for example, adding a chorus or panning effect to the backs, a compressor to the voice
main, and a reverb to the entire voice folder, including subfolders. It looks labyrinthine, but
it works.
If we no longer need the folder, just delete the tracks created as the beginning and end of the folder, and
ready.
The way folders appear visible is toggled with the enter key.
Normal: the folder is highlighted.
Small: You can see the folder in thumbnail.
Closed: You can see the closed folder. The same is true for individual tracks, although for
a blind user, it doesn't influence anything.
02.3: Save and manage projects:
In addition to being able to save our projects in a predefined folder, it is also possible, and
in many situations even convenient, keep each project in its own folder.
Especially when they are more complex projects, with more tracks, specific configurations,
etc, everything is more accessible and organized.
With alt+enter we access the project properties, where we can define the format of the files
rendered, beats per minute, etc. When creating a project and saving it, this menu appears
a button to save or save the properties of that project as default for all
following projects.
The standard save as or save as dialog is similar to any other application
editing, but if we want Reaper to save a project and all its material in its folder
respective one, we choose this in the Save as dialog, and we have to access that menu, or with the navigation
of NVDA objects, or with JAWS scripts, or,when we are in this Save as dialog, we do
control+tab, and that tab appears with the checkboxes to be checked or unchecked as
the preference.02.4: Clues and elements from other projects:
Sometimes, we may want to use tracks from one project in another project. For example,
when we have samples associated, or a chain of effects and complex settings that we don't
we want to be repeating.
In this case, we select that lane or lanes in the original project, and do alt+shift+n to open
a new project, where we can do control+v to paste these tracks with very
specific.
Another possibility is to select that track, or project, and save it as a template in the respective
menu.
From there, we can, in the file menu, open this previously created project template, or, in the
insert menu, insert the previously created track template.
03: Browse audio, select and edit tracks:
To navigate the audio, Reaper has 2 cursors: the cursor that follows the playback, and the cursor
of editing.
Play and stop: spacebar.
When we press the spacebar, we hear a little, and we press space again, the
cursor returns to the beginning of the play zone.
Play and pause: control spacebar.
By doing control spacebar after listening for a while, we put the cursor on that
dot , and does not go back to the beginning.
To move by slashes or spaces: page up and page down.
To move by time: Control+Page up or Page down.
Left and right arrows scrub, paused.
Knowing where we are in the project: in terms of bars: control shift j.
In terms of audio timing: control shift j j.
More details in the section where we talk about easy navigation in the timeline.
By default, when we insert an audio, the cursor is at the end of it. This is configurable in
preferences but not mandatory.
03.1: Select:
When we arrow up or down on tracks, we are basically selecting those tracks.
When we do control+alt+home, we move to the first lane.
When we do control+alt+end, we move to the last track.
This means that we can from there, do everything with the selected track(s). For example, if
we delete a track, it is deleted. The same happens if we use other commands from the
windows like control c to copy, or control x to cut.
With control shift p, we can open a menu with basic track parameters, and also with the
properties key to access its contextual menu. We have many ways to do the
stuff.
Do not forget that it is important to follow the hierarchy mentioned above to select.
When you insert or record audio on a track, it has an item.
To make any selection, we have to start from that first item.
To select it, we do control and side arrows with this track in focus.
In terms of audio, the selection is by markers like in GoldWave or Audacity.Start tag: apostrophe.
End tag: double quotes.
These keys are followed just to the left of the backspace.
To undo a time selection, press escape.
It is also possible to select by items, defining as many as necessary.
To do this, just press the letter a or s at the point where we want to define the beginning and end of the item.
We can navigate between items with control+left arrow and control+right arrow.
With the focus on an item, we can cut it, copy it, delete it, etc.
So the selection can be done either way; just choose the method that best suits you
at the time.
If from a certain point we shift home, the selection goes to the beginning of the project,
covering all tracks.
If we shift end, it goes from that point to the end of the project on all tracks.
To preview how it will look after editing:
Step 1: Put start and end mark,
Step 2: go with page up to just before the start mark,
Step 3: alt spacebar to hear how it will look.
If you need to move the tags:
control apostrophe or control double quote moves start tag
Alt apostrophe or alt double quotes move the end mark.
All this depends on the zoom adjustments made with the plus sign to increase the zoom and the
selection accuracy, and less to decrease.
Plus and minus of the number block also works.
To move item tag:
item start markup: control dot or control comma, from right to left.
End-of-item markup: alt dot or alt comma, either to the right or to the left.
03.2: Ripple Mode:
To edit, we have to pay attention to two things: the timeline and the audio.
To manage these two factors, there is the Ripple concept or mode.
Ripple mode switches between:
Off, , where the audio content is changed but not the timeline;
Ripple per track, where the action takes place on an individual track, eliminating the timeline and
audio on the selected track.
Ripple all tracks, where the audio content and timeline are changed on all tracks as
Same time.
To toggle riple mode: alt+shift+p.
To find out which ripple mode is active: control +shift+p.
03.3: Easy timeline navigation:
Let's look at this from a musical perspective, breaking it down into beats and bars.
Navigate between bars: page up and page down.
Navigate between times: control+page up, control+page down.
Go to the beginning of the current bar: alt+home.
Go to the beginning of the next measure: alt+end.
Now let's imagine that the chorus starts at bar 9. We can locate this bar, and
add a tag with shift+m, and call it chorus. It's a good idea to name each tag for the sake of saving time.
Whenever you need to go back to the beginning of the chorus, just press control+j and write chorus; O
cursor will stop there immediately.
By doing control+shift+j twice quickly, we will hear the point where we are.If the mark has no name, it will have a number associated with the measure number. So, when
we do control+j, knowing the bar number, we type that number, and the cursor immediately moves to the desired place, in this case, the beginning of the chorus.
In this same edit field we can write any value we know relative to time,
measure number, fraction in the project, etc.
If we know that our second chorus starts at bar 25, just type in this field the sign
plus and 25. The cursor immediately moves to measure 25.
Now, let's imagine that we have a mark at the beginning of each chorus.
The first chorus starts at bar 9, and the second at bar 25.
To each of the measures we add a mark with shift+m, and we want to jump between marks;
easy!
By default, each brand is assigned a number in the top row of the keyboard. So, just
press the number corresponding to the mark we want, the cursor is positioned there, and the
screen reader announces the measure number and brand name.
Instead of navigating by measures, we can navigate by time in minutes and seconds. if
we know, for example, that our first chorus starts 1 minute and 20 seconds into the song, and
we're at the beginning, just do control+j, and write plus sign, 1, colon, 30, and hit enter.
Again, control+shift+j, pressed twice quickly, gives us the position in terms of
time.
If we want to move to a point behind, for example, we are one minute and 20
seconds and we want to go back 30 seconds, at the point where we are, we do control+j, type the
minus sign and 20, immediately moving backwards 20 seconds in the song.
If we want to move forward 25 seconds from where we are, we do
control+j, we write the plus sign and 25. The same applies.
If we want to navigate by time instead of bars, we go to the View menu, option Time Unit for
ruller, and we choose minutes and seconds.
If we don't want to change this navigation mode, when we do control+j to write the value,
we write the number followed by the colon character. In this way, the cursor will be moved to
that specific duration.
04: Effects:
With the f key we have access to the effects that the program already brings, as well as the VST and
others we can add.
With the tab and the arrow below, we explore the window and choose the desired one.
Depending on the effects, the way we search for and apply parameters varies.
Normally, with the tab and the arrows we explore the parameters and their values.
Another way to access the parameters of an effect is provided by Osara.
On the track where the effect is inserted, press the p key.
There, the parameters appear in a list that we can scroll with the up and down arrows.
The parameters are adjusted with the arrows, page up and page down, home and end as we want
make smaller or larger adjustments.There are effects with dozens of parameters, and this makes searching and
configure the desired parameter.
Thus, Osara offers us the possibility to filter the parameters that we want. After entering the parameters with the P key, we explore the window with shift+tab and we arrive
to the filter where we can write the name of the parameter or parameters that we want to change, and just
those will appear in the list.
For example, if we want to choose a compressor, we press enter on that compressor, and then,
we go back to the project with exhaust, and over the track where the compressor was added, we do p, and it
enter the parameters.
If we just want to change the compressor ratio, we go to the filter, and only the ratio will appear in the list
of parameters.
Sometimes there may be plugins that show us strange values, or do not give us access to some
controls immediately. For this, we can open the plugin menu again, if not with p,
could be with F.
In the case of those who use JAWS, there are scripts that help to solve the problem of reading the
graphics and the location of some controls.
Unlike other programs, Reaper applies the effect to the track and not immediately to the audio.
This means that whenever we monitor the track, the selected effects will be heard.
Some plugins don't really care about usability or accessibility. If the configuration does not
conforms to the preferences, instead of using the spacebar, The boxes must be
marked with the left click of NVDA or corresponding in another player, as well as the
parameter confirmation on ok button.
We can only apply the effect to the audio when we render, that is, when we save that
track or the entire project to an audio file.
If instead of p we shift p, the effect will be applied to the master track.
04.1: Effects chain or effect chains:
It is often necessary to use multiple effects with very specific settings on multiple occasions.
For this, we can not only store effects presets, in the corresponding menu of each one
of them, as well as saving effect chains.
For example, let's suppose that we record our voice, and we need a situation where we
use an equalizer, reverb and compressor, each with their own settings.
So, let's proceed like this:
Step 1: On the track where we have the various effects, press f to open the effects browser.
Those that are placed on the track will already appear listed.
Step 2: With the properties key, we go to an option that says Save as chain. we give enter, and
we save that list of effects in Reaper's own file called effects chain or chain
effects, which is available when needed.
That way, we won't need to load and configure the same effects next time. there they go
be in the respective order, and with the desired parameters.
04.2: Create shortcut for a plugin or effect:For those situations where we often use a plugin or effect that is on a huge list
and it's hard to find:
Step 1: On the desired track, f for the effects window.
Step 2: Type the effect name in the search field, or search for it in the tree.
Step 3: When locating the effect with the arrow below, do not press enter immediately; before, key
applications, and up or down arrow to create shortcut.
Step 4: Type the desired command for the shortcut, and tab until ok. If the shortcut typed is already assigned, Reaper will alert you, and ask if we want to replace it.
If not assigned, it will be assigned to that plugin or effect.
You can modify or delete this shortcut by doing the following:
Step 1: On the desired track, f for the effects window.
Step 2: Type the effect name in the search field, or search for it in the tree.
Step 3: When locating the effect with the arrow below, do not press enter immediately; before, key
applications, and arrow up or down to edit shortcut or delete shortcut, depending on whether you want to edit or
delete the shortcut.
04.3: Input effects or input effects:
When we insert an effect such as a delay or reverb into a track, it is audible at the output of that track.
track, but is only applied to the audio after rendering. However, we can apply the same
effect, but so to speak, at the entrance of the track, and it is immediately affecting the audio, even
before rendering. Applying effects in this way is useful in situations where we already know
exactly what are the parameters of this effect that we are going to apply to the audio, and at the same time,
we want to decrease the weight of plugins and effects on processing speed.
Therefore, it is only possible to insert an effect as an input effect to an audio that we are recording in the
moment, and never to previously recorded audio and placed on the track.
To add an effect as an input effect, here is the procedure:
Step 1: With the track selected, applications key and up or down arrow until track input fx
chain. Then we enter.
Step 2: Locate the desired effect as in the normal window.
The effect will be audible depending on the track input settings, and automatically
applied to any audio that is recorded. Therefore, even if it is later removed from the track, the
effect is always heard in the recorded audio.
04.4: Add an effect to favorites:
Finding a plugin or effect among hundreds or thousands can be a stunner! To facilitate the
things, the tree in the effects window has a favorites section where we can
add those that we like best, or that we use most often. Here it is explained
how to add an effect to favorites section or folder:
Step 1: With the letter f, open the effects window and locate the desired one without adding it to the track.
Step 2: Applications key and down arrow to Add to folder submenu. Entering there, the option appears
favorites,and we hit enter. So, when we go through the tree and find the favorites section, the
plugin or effect will be located more easily because it will be there.
Grades:
1: The favorites section is the last element in the tree; so it can be located
immediately with the end key, and then with the tab, we enter the list of favorites.
2: If we have several favorites but still only the name of a single one appears, just delete the
edit field that we use to locate plugins or effects, that all favorites are
visible.
This applies to all sections of the tree.04.5: Copying and pasting plugins or effects between tracks:
Now, let's imagine that we have an effect added to a track and we want that same effect
with the same parameters on another track. No need to manually add or configure
new parameters. So:
Step 1: On the track with the previously added effects or plugins, we open the effects chain
with the letter f.
Step 2: In the list or chain of effects that will appear, we choose the desired effect, and
control+c; the effect is copied to the clipboard.
We exit with the esc key.
Step 3: With the cursor on the destination track, we do one of two things:
If the track doesn't have any effects or plugins, just click on the b key, and paste with control+v, that the
effect or plugin is added to the track.
If the track already has other effects, we open the effects window with the letter f, e, in the list or chain of
added effects, we move to the point where we want to paste, and do control+v at the place
where we want to paste the new effect or plugin.
04.6: Delta function:
This is a function for more advanced use. In newer versions of Reaper, all effects
include a parameter called Delta. It's not any particular parameter of the effect we're looking at.
use, but rather, a way to hear only the processed signal of that effect or plugin, and
so we know exactly how it is affecting the audio at any given time, and the result
end in the mix.
It is very useful, for example, in music production, when we are working with processing
parallel, and that is why it is important to understand the difference between the processed signal and the unprocessed signal.
processed of an effect on a given track.
If we check this box, we will isolate the processed signal, fine-tune the parameters, and
apply the effect to the desired extent.
05: AutoPunch function or the chopped ones:
Let's imagine that we are making a recording, and we miss a note, but the rest is all
well, and we want to preserve.
So just select what is wrong and press alt+backslash to select the mode of
select autopunch recording.
This command is a toggle between the 3 recording modes available: normal, time select autopunch
and selected item autopunch.
If we are editing midi, the command is alt+shift+backslash to select the mode of
desired recording.
This way,Reaper will only record to that selected space.
When recording, it's a good idea to page up a little back to prepare.
All takes are recorded; therefore, with t and shift t, you navigate between the recorded takes and
the best is chosen.
t for the next take, shift+t for the previous take.
With alt shift t, the takes that do not matter are deleted.
After making the correction, it is advisable to do alt+backslash too, until the recording mode
normal.To hear everything already with the correction, we make escape to eliminate the selection and spacebar to
touch.
 05.1: Takes over takes:
Whenever we press r to record, we create a take. When we press the spacebar,
we always hear the last recorded take. If we have recorded more than one take, on the same track,
we can press t or shift+t to move respectively to the next take or to the
previous.
But we can record multiple takes on the same track, and as we record the next one, we hear the
previous. If the idea is to save clues in the project, we can use this feature. For that:
Step 1: Create a track with control+t, giving the name or not; is indifferent.
Step 2: Control+applications to one of the context menus, and arrow down to free item positioning.
Then we hit enter.
Alternatively, right after creating the track, we can do alt+shift+f2 to enable free item mode
positioning.
Step 3: With this mode enabled, on the track, key applications and arrow down to monitor
track media when recording.
This way we can record the next take while listening to the previous one on the same track.
05.2: Create a talkback:
A talkback is a track used not for recording, but for talking to a person who is going to record.
remotely.
For that:
Step 1: Create a cue and identify it, for example, as a talkback cue, not to be
confused with anything else.
Step 2: On the track, applications key and up or down arrow, until record: disable: imput
monitoring only.
Step 3: f7 to arm the track and f8 until not when playing.
Step 4: Control+windows+f6 to solo defeat.
Thus, soloing or muting other cues will not affect the talkback's.
 This track can be saved as a template, and then, as needed, the output is sent
where to justify.
06: Basic track manipulation:
The volume of a track changes with alt up and down arrows.
To change in increments of one decibel, use control+alt+up or down arrow, as shown.
want to increase or decrease the volume.
The pan changes with alt left and right arrow keys; very practical!
Mute/unmute: f5
Solo/unsolo: f6
Solo in front: control alt f6.
It's a toggle.
When using this function, the selected track is soloed, but the rest of the tracks are still
listen. By default, the rest of the tracks are lowered by 18 db. This is configurable in the program preferences, in the mute and solo settings.
To reverse the phase: f9.
Listen in mono/stereo: shift f9.
06.1: Context menus:When we are on a track, we can access 3 different context menus:
First context menu: application key, usually with monitoring options,
inputs or outputs.
Second context menu: Control+application key, usually with options to insert
elements on the tracks.
Third context menu: Alt+application key, usually with routing options.
When we are on an item, normally the 3 context menus do not apply, but only the
first, ie the applications key.
06.2: Track templates or track templates:
As with the effects, we can save templates or track models for future use.
use.
For example, let's suppose we have a sequence of tracks with several plugins and several options.
of routing, we can save this track or set of tracks as a template or template. So this
template will be available for use, saving you the time of defining everything
again.
The same can be done with projects, all in the respective context menu.
06.3: Show and hide clues:
In those situations where we have a project with many tracks and we are going to work only on
certain track or in a specific group, we can use this which is a function of SWS.
Step 1: f4 to enter the action list.
Step 2: Write: SWS: Hide selected track(s)
The action will appear and we press enter. The selected track or tracks are hidden.
To show or show again:
Step 1: f4 to the action list.
Step 2: Write: SWS: Show all tracks
The action will appear and we press enter. Note that we can also assign a keyboard shortcut.
This will be described later.
07: Routing:
On the intended track, we do i, and enter the routing options.
It is a kind of contextual menu of the track, but with more options, among them, the possibility of
send the channels between the tracks. It is a technique similar to the inserts in the channels of the mixing console, in which we are going to get the output
from the channel of one lane to enter another. This will be very useful when we want to hear and manage effects
such as vocoders, equalizers or compressors.
Routing availability depends on the card we have. The normal thing about a reasonable board is to have at least
least up to 16 channels per track, which is more than enough.
08: Project properties:
To enter the project properties, as already indicated, alt enter.
There appear some tabs where we will define, among other things, the format and bit rate, the
beats per minute, and other situations that we can apply to the current project, or save as
default setting when opening a blank project.
We can choose to navigate by bars, for a musical project, or by tempo, for something that
does not involve music, and for which the division into measures makes no sense.
One of the most interesting tabs is the notes or notes tab.This may include notes on
text with instructions or relevant information in case the project is shared with others.
09: Sidechain:
It is understood by Side Chain, to route a track to hear its signal in another.
This can be useful in many situations, especially when we want to apply an effect or
change, and check how it will act on the audio set, being routed and heard on another track.
This is achieved by actually sending the signal from one channel on the starting track to another channel on the
destination track.
Here we will exemplify with a compressor. We will have two tracks, one with voice and one with
song.
The idea is for the compressor to lower the music when the voice starts, and make it go back to normal volume in the
end of voice.
The destination track, in this case the song, must have 4 channels, 2 of which are available for the compressor.
Let's choose one of the several compressors that Reaper provides, in this case, the vst plugin
recomp.
Then::
Step 1: With the focus on the track of the song, we click on the i, to enter the routing options.
We tab to channels. With the arrow below, we choose 4.
Step 2: Focus on the voice track.
I to enter routing.
Then, tab to send combo box add new send, and open with alt down arrow.
Then, arrow down or up, until we locate the track where we are going to send, in this case, the
music track. Then we'll enter.
The send is created.
Step 3: We continue on the voice track, and we tab until send to, listen to the track number and delete
button, but we don't do delete.
Step 4: Properties key and down arrow to destination audio channel. Then we hit enter, and
down arrow again to channels 3 and 4 in this case. We press enter and exit the routing of this track
with exhaust.
Step 5: Focus on the music track.
F to enter effect, in this case the compressor.
p to better enter its parameters.
If p doesn't give us the right parameters, we close it and re-enter it with f.Step 6: We adjust the various values ​​and start previewing with the spacebar.
Let's give tab, and when we get to reacomp detecter input, we have to select auxiliary
input.
10: Render/Consolidate:
After finalizing the project, it's time to save the final result in an audio file. THE
this is called rendering.
It's in the file menu. The hotkey is control alt r.
It is a process that consumes a lot of machine resources, and can be done offline, that is, the
as possible, or online, that is, letting the project play in real time until the end, while
the process takes place.
Despite being an intuitive process, there are some less obvious but very interesting things:
The final product is saved in a separate audio file, and the audios can be preserved
of each lane, without any treatment.
The render cue, where we place projects un-rendered, or render projects that are too long.We can also choose whether to render from the master track, which is the
default behavior, or from selected tracks.
We also have the option to render only a selected part, for example, to show a
snippet of work to someone.
Another way to render is to consolidate the project, it gives you a few more options, but basically
do the same.
The difference is that, while we render, the master will contain all the effects, for example, the
reverbs and echoes. When consolidating, we are simply saving all or sections of the audios
originals.
Within this process, we also have the possibility to render the audio in stems. By stem,
it is understood an individual track of the project, but already processed.
10.1: Tips:
In the act of rendering:
Let's imagine we have an extensive reverb at the end of it. For him not to be suddenly cut,
when we render the project, it is best to increase the number of milliseconds of the tail or tail
of the reverb.
To render a part and not the whole project, just create a selection, and then, when rendering, in the
bounce options, choose time selection, and only that part will be rendered.
In the render cue, we add multiple projects and render them all at the same time, or one of each
turn.
In rendering, we can save this individually, choosing in the bounce options, the type
of rendering we want.
10.2: Wildcards:
It is possible to render using so-called wildcards, or custom code labels that
we can include it in the name of the rendered audio files. If we have a project with many tracks and we need to name them all in a very
specific, wildcards allow you to automate the process, and all tracks are named in a
organized way.
For example, let's suppose that we need to include in the name of the rendered file the number of the
track, its name, the name of the project, the name of the author of the project and the creation date.
Just press the Wildcards button in the render dialog, and a context menu opens
where we can choose the desired attributes in order.
Finding the attribute we want in the list, just press enter, and the wildcard is added to the
name of the file or files to be rendered. These attributes are listed in the menu, and there are also
a help option to know what each of these attributes refers to, whose name is always
preceded by the dollar sign, (shift+4)
After choosing the attributes and adding them in the respective order, pressing the button
Render, just wait, and all files are named in a personalized and organized way.
This way of naming works with tracks, items and takes and is extremely customizable.
10.3: Render in multiple formats at once:
There are situations where we are asked to submit our work in more than one format, or it is
convenient to save in more than one format. In this case, when we render,there is a menu
called Output Formats where we have a separator for a first format, and a separator
to a second rendering format. This allows, for example, to render simultaneously in the
wav and mp3 formats, with the desired quality, which eliminates routine operations and saves time!
11: Re-console:
Reaconsole is a built-in command line for Reaper functions, which exists thanks to the extension
previously installed SWS.
With this powerful feature we can select tracks, assign them names, change the channel of
input each track, insert effects, etc. It is not possible to use this feature to work with items;
just clues.
It is also not possible to read volume or status of a track or item.
But what interests us is what we can do with this incredible resource that will help to save
production time.
Enable reconsole: alt c.
If the sws extension is correctly installed, let's hear: reaconsole enter a command.
At the end of each command, we hit enter.
If we want to discard the reaconsole, we give control enter, or, after giving a command and doing
enter, we give escape.
For example, we have a project with 3 lanes.
Track 1 for drums, track 2 for bass, and track 3 for keys, and we want to name these
clues.
We open the reaconsole and type
n, 1, space, down, enter
n, 2, space, battery, enter.
n, 3, space, keys, control enter.
You can also add prefixes and suffixes to track names.
For example, from track 10 to track 20, it's the vocalists, but we only have the names. so we open
reconsole it and write:
b, 10, ifen, 20, space, vocalist, control enter. This will add the vocalist prefix to the selected tracks.
To add a suffix, the command is the same, the difference is that you write z instead of b.
We can also change the input channel, selecting the desired track, opening the console and
just typing i, and the desired channel number.
For example, we have track 4 selected, and we want it to record from channel 3: just put the
cursor over track 4, alt c to open the console, and type i, 3, control enter.
It is also possible to do this on several tracks at the same time, by selecting them with the cursor,
opening the console, typing i, and the desired channel number.
Or even faster, you don't even need to select the tracks with the cursor, just place it at the beginning of the
selection, open the console, and type i, dash, and the desired channel number.
About contiguous and non-contiguous lane selection will be discussed later in this manual.
Now, let's suppose we want track 6 to be stereo. We select with the cursor, open the
console, and type i, 6, s, control enter.
In the same way, if we have, for example, from track 6 to track 10 keyboard sounds and we want all
are sterio, we select clue 6 and do:
i, 6, dash, 10, s, control enter. Magically, all these tracks are in stereo!If we want to set these tracks to midi, we use the suffix m.
Example: i, 6, dash, 10, m, control enter.
Here, the i represents input or input.
If we type, for example:
i, 4, space, 4, control enter, in this case the i followed immediately by the number and space, says
respect to the track and not to the channel.
If we type, for example:
i, 4, space, 5, we make track 4 receive the signal on channel 5.
To solo, the command is ó, to mute, the command is m, to arm, the command is a.
As they are all toggle commands, to invert in the reaconsole we put the minus sign
before the command.
For example, we want to solo track 5, we type:
oh, 5, control enter.
To desolate, we type: minus sign, o, 5, control enter.
Now let's imagine that we have a project with 30 tracks and the name of the tracks we want to solo
are all guitars, no need to solo one at a time, just type:
oh g asterisk control enter. All tracks starting with the letter g are soloed.
The same happens with the mute command for example.
Here, the asterisk represents all characters after the initial.
If we still want to be more specific, we can type:
oh gui, asterisk, control enter
Here, the secret is to know what the clues are called, and this is a huge time saver for
production.
If we want to select, we use the s command.
To change the volume of a track, the command is v, followed by the number of positive decibels or
negatives to change.
The same happens with the pan, with the center being represented by 0, left and right are
represented respectively by 100 positive or negative.
Capital V is the absolute volume; small v is the relative value.
The same goes for the pan.
To add effects, the command is x.
For example: x, 10, space, gate, control enter, add a gate to track 10.
This doesn't always work if we don't know the name of the effect we want to add.
We can also use the s or ifen selection commands.
And with that, we finish Reaconsole's approach.12: Volume management:
One of the most important things is being able to read the volume of what we are listening to or
to record. This is because, in most cases, we are not working with just one sound,
but we are mixing various sounds from various tracks, as we also EQ,
we compress and insert other effects that will influence the intensity of the sound, and, for
consequently, the volume level.
12.1: Peak Watcher:
Peak Watcher is a tool made available within the scope of Osara.
From some versions to this part, there are 2 peak watchers. When configured, allow
monitor audio volume peaks on individual tracks or the master track.
The idea of ​​this division in 2 is to choose each of the peak watchers to monitor
individually tracks or channels of the respective tracks.
An interesting idea will be to configure one of the peak watchers to monitor only the track
master,while the other can monitor successive tracks.
To open the peak watchers window, press alt+w.
A context menu appears to choose if we want to use the first or second peak
watcher.
The first box allows us to keep the track we are monitoring selected, even if the cursor
don't be on that track.
If checked, peak watcher will monitor the volume of the track under the cursor. if
is unchecked, continues to monitor the lane it is on, regardless of whether the
cursor is or is not on that track.
By giving tabb, a box appears to select the type of level we want, if it is the peak, the lufs, the
rms, etc.
Continuing to explore the window, we can choose to monitor by channels, we can ask that the peak
watcher notify when volume reaches certain level, keep or not this information, and reset
to peak watcher.
12.2: Automatically notify:
This option alerts you when the volume exceeds a certain level.
Here we can choose the level at which we want to be alerted by ticking the respective boxes.
The idea is to be able to prevent the final audio from going beyond 0 db, or any other value.
The next option, hold peaks until, causes the peak watcher to record the maximum peak assigned by
individual track.
12.3: Using peak watcher:
This tool allows you to monitor the audio input level before and during recording, and during
mixture.
In the latest versions, the possibility to read the gain reduction or gain has been added
reduction. We will describe this functionality below.12.4: Monitor level before recording:
After setting up the track and activating the monitor, we play or sing as if we were in the middle of
recording.
When finished, we do:
To read channel 1 level from the first peak watcher: alt+f11.
To read the channel 2 level of the first peak watcher: Alt+f12.
To read channel 1 level from the second peak watcher: alt+shift+f11.
To read channel 2 level from the second peak watcher: alt+shift+f12.
To reset the level of the first peak watcher: alt+f10.
To reset the level of the second peak watcher: alt+shift+f10.
12.5: During mixing and playback:
To read channel 1 level from the first peak watcher: alt+f11.
To read the channel 2 level of the first peak watcher: Alt+f12.
To read channel 1 level from the second peak watcher: alt+shift+f11.
To read channel 2 level from the second peak watcher: alt+shift+f12.
To reset the level of the first peak watcher: alt+f10.
To reset the level of the second peak watcher: alt+shift+f10.
The master track is the track that reflects the ensemble level of all the audio to be played in the project.
Logically, if the peak watcher detects that the volume of the master track is too high, we will
check by clue where the problem is and make the necessary corrections, or else, if necessary,
download the master track.
12.5.1: Gain Reduction or gain reduction:
This peak watcher function is useful when using a compressor,for example. The peak watcher
will read the absolute value of the audio after compression, according to the compressor setting.
To be able to read this value with the peak watcher, we have to do the following:
Step 1: After adding the compressor, locate it in the effects list.
Step 2: With the cursor in this exact location, we open the peak watcher with alt+w and enter.
If when we gave tabb, before we appeared a box combined with the type of reading we wanted
do now, this combo box only displays the item referring to gain reduction. then, at
use the peak watcher to read the volume level, we will get the volume that reflects the performance of the
compressor.
It should be noted that some plugins do not support this integration with peak watcher. It's something that
is always in development.
12.6: Monitor in real time:
As the sound enters, we press j or k to read the audio level
individually on each of the channels.
With shift j and shift k, we read the same data, but relative to the master track.12.7: Read the rendered project level:
For this, we have 2 methods:
Using the Render dialog:
Uncheck the box that says something like "automatically close when finished", and use the
review according to the screen reader, to read the volume level. The values ​​presented represent
the peak volume throughout the entire audio, being of one value for just one channel, or multiple
values, depending on the number of channels, one value for each individual channel.
12.8: Using peak watcher after rendering:
With the peak watcher configured to record the maximum peak, before rendering, let's reset the
peak watcher for the master track, which is the one that serves as the basis for the rendering process.
After rendering, let's check the volume; it is not possible to do otherwise.
12.9: Normalize:
We can normalize the audio in 3 ways:
The first method is in relation to the maximum peak, that is, everything below the peak is
brought to 0 db in case 0 db is the intended final value. Obviously, there should not be
sound above 0 db, even if apparently it is not distorted, because if not, it jams the
audio and degrades its quality.
The second method is in relation to the RMS value, or the average audio level over the entire
sound.
As the sound varies over a period of time, RMS gives us the average of the loudest value during
this time and adjust the value.
The third is one that has been in use a lot lately, called LUFS. It is equivalent to RMS,
but in relation to the volume perceived by the human ear, not so much what the graph itself shows.
To normalize the item or the audio track, we shift u.
Audio analysis is done with control shift u to find the level in lufs, and control+shift+k to
know the level in rms.
Go to the highest peak and report the value: control k.
13: Costum Actions or custom actions:
Each Reaper action can be assigned a hotkey.This is excellent news for the
blind users. Even better, is the fact that, already standardized in the program, come more than 6000
of these actions.
The Osara and SWS extensions further expand the range of possible individual actions.
But what if it were possible to create lists of actions that could be assigned a single shortcut key?
In short, does Reaper allow you to create macros with automated operations in just one
key combination? Of course yes!
With f4, we enter the huge list of actions that are already standardized.
First, an edit field appears, where we can do our search.
Giving a few tabs, the list of actions itself appears, preceded by the shortcut key
corresponding, if the action has a key assigned. Pressing enter on the action executes it and we return to the project. About the stock list,
giving escape, we exit the menu.
13.1: Manage shortcut keys:
To assign a shortcut key to an action that has none, simply locate that action in the
list, and give 2 tabs to add. Then we press the key combination we want and again tab
until ok.
In this menu we also find a delete button to delete any key assignment of
shortcut. If there is already an action with a certain key assigned, the program alerts if we want to
change. If not, everything is discarded; if yes, the previous hotkey is replaced by the most recent one.
In this menu there are also 2 new buttons. One is to create a new macro or set of
actions; the other is to create a file where we can store our created shortcut keys, and
import them into Reaper installed on another machine, which is really handy!
13.2: Create action macros:
We can associate multiple actions with a single hotkey, especially if they are very repetitive and
routine, or involve many operations.
For example, we can create an action to configure a volume envelope.
This involves:
make the volume envelope visible;
arm the volume envelope;
open the volume envelope editor to set the values.
These actions are defined individually in the list. We can group them into a single macro, and
press, instead of 3 or 4, just one hotkey.
In the first new button we write the name of the action.
By tabbing, we find a box that allows us not to add this action to the undo history or
redo.
One more tab, and we arrive at the search filter where we type the exact or approximate name of the action
that already exists in the list.
When it appears, we left click according to the screen reader, and the action is added to the
macro.
One more tab, and another list appears, precisely the list of actions that we have already added to the macro.
We also add as many actions as needed.
Then, just assign a shortcut key, save, and it's ready to use.
Caution: Sometimes shortcut keys associated with an action that are already programmed,
Do not work.To solve the problem, the easiest is, if we don't have it installed in the
US English languages, install it. For other tasks and programs we use keyboard language
Portuguese. For Reaper, we switched to US English keyboard. This exchange is very simple;
just press alt shift.
14: Basic automation:
Automation in Reaper is done, among other features, on the basis of envelopes. The envelope is a
sort of automatic command concerning an effect, volume, compression, etc. Here
let's deal with the most obvious, the volume envelope. After creating the track and inserting the audio, or recording, we proceed like this:
Alt control v to make the volume envelope visible.
Control l: arm the volume control; select the envelope in the clue or item.
Control shift l: Move to the previous envelope in the track or item.
Insert point at current position: shift is.
Edit envelope values ​​under cursor: alt shift is.
If there is no defined point, alt shift is also automatically inserted.
Move between the envelope points: alt k and alt j, left and right.
Move to a point leaving the others selected: shift control j and shift control k.
The pan and volume envelopes are already standardized, and are visible, respectively with alt
control v and alt control p.
To make envelopes from other effects visible, we do the following:
Step 1: We create a track.
Step 2: We insert an effect on this track.
Step 3: In that effect window, we tab to the param button and hit enter.
Step 4: Use the arrow below until the effect parameters submenu; then we hit enter.
Step 5: In the list of options, choose show track envelopes and press enter.
Step 6: All the parameters of the effect inserted in the track will appear, which we can add to the
respective envelope. This is how it works for all effects except volume and pan.
14.1: Example:
We have voice and music in a project, and we want that when the voice starts, the music downloads 15 db
so that the voice is perceptible, and it goes back up to the initial value at the end of the voice, as it used to
on the side chain.
Then:
Step 1: With the focus on the desired track, in this case the music, we do control alt v to make it visible
the volume envelope on that track.
Step 2: Control l to arm the envelope.
Step 3: If necessary, move the cursor to the point where you want to start decreasing the
volume. If not, alt shift is to enter the first point from which the volume will drop.
Step4: We move the cursor to the beginning of the voice, and do Alt shift is again, to insert the
point at which we set the level to lower; in this case, 15 db.
Step 5: We move the cursor to the end of the voice, and do alt shift it once more, to set the
point where the volume will start to return to normal.
Step 6: We shift the cursor a little further, and do alt shift is one last time, and finally
we set the volume value, making it go up 15 db.
15: Snapshots:Here's another very interesting feature.
Snapshots are records that the program keeps in order to be able to compare different mixes
different for the same project.
As we work on the project, we can save several versions or mixes, without being
I need to render these mixes. Then, among them, we can choose the one we like the most. IT IS
a SWS functionality that greatly increases productivity with Reaper.
It's in the extensions, snapshots menu. If we enter there, we can manage, create new ones, delete, in short; it's the
which is even more interesting, with the up and down arrows, choose the snapshot we want while we are listening to the work. Pressing enter on this snapshot, we immediately hear the
mix as it is stored in that register.
16: Useful commands:
Insert audio file: control+i
Enable or disable crossfades: alt+shift+x
SwsPadre envelope processor: key is
Change project time: alt+ifen to decrease, alt plus equals sign to increase.
Report lane automation mode: control+shift+l.
Change track automation mode: Control+shift+vertical bar.
Select the closest folder above: alt+page up.
Select the closest folder below: alt+page down.
Decrease master track volume: Shift+f11.
Increase master track volume: Shift+f12.
Mute master track: Shift+f5.
Solo the master track: Shift+f6.
Disarm all lanes: Alt+f7.
Disable monitoring on all tracks: alt+f8.
Start and end checkmarks is as described above, but can also be alt
shift and the start and end mark keys.
Collapse or expand selection by tags: control apostrophe or control double quotes for tag
from the beginning;
alt apostrophe or alt double quotes for the end tag.
Shift the time selection itself: control alt double quotes or control alt apostrophe, either
towards the end or towards the beginning.
All this is directly influenced by the zoom settings.
It is also possible to move between marks using the numbers on the upper keyboard.
Fade out from one point to the end: control alt ó.
Fade in from one point to the cursor: control alt i.
Show and hide the master track: control alt m.
Toggle metronome on and off: control shift m.
Metronome settings: alt shift m.
unmute all clues: alt+ f5.
Desolate all clues: alt+f6.
Announce muted tracks: control shift f5.
Announce solo tracks: control shift f6.
Disarm all clues: alt+f7.
Announce armed tracks: control shift f7.
Disable tracking on all lanes: alt+f8.
Reset the phase of all tracks: Alt+f9.
Lock and unlock the track for no further changes: l.
Open menu with basic track parameters: control shift p.
Exploring this menu: tab and arrows: it's easy to understand.
The values ​​to be adjusted in this dialog are defined in preferences, appearance, track control panels,
volume/pan fader range.So we have more control in this menu.
In addition to working on the selected track, with an item selected, we can use the same
dialog to set the item parameters.
This can be useful if we want to pan an instrument during the song. Just select
that part in a separate item, and control shift p to access the parameters. Set loop start: alt shift apostrophe.
Set end of loop: alt shift double quotes.
Name an item: select it and shift f2.
Increase or decrease the volume of an item: control+shift up arrow, and control+shift down arrow.
Increase or decrease the volume of a take: control+up arrow, control+down arrow.
Add item according to selection: shift s.
Link all items into one: alt control a to select all, and control u to link all.
Add effect to an item: control f.
Insert automation item: control shift i.
Deselect all: shift escape.
Normalize audio of an item or track: control shift n.
Go to beginning of musical tempo: alt home.
Enter undo history: control alt z.
Choose the desired one: enter.
Make sure we are at the beginning of the project: control shift j.
Move quickly to a certain measure: control j, and write the number of the
compass or bar.
Insert envelope or timestamp: Shift+c
Delete all envelopes or timestamps: Alt+Windows+del.
17: Some interesting operations:
In this section of the manual, we describe a list of operations that the program does not perform
natively, but that result from obvious features of it, or the plugin we are using, and
they are the result of a certain creativity that we can employ in our work.
17.1: View the size of the selected snippet in the format
intended:
If, when pressing control shift space to see the size of the selected snippet, the result is
presented in terms of rhythms and measures, and we intend in terms of time, we have to go to the
teamruler settings:
This is done by going to the view menu, up arrow to time unit for ruller submenu. There we define how the
Reaper will present us with the values.
17.2: Delete time data from selection:
When, for example, we select a snippet and delete it, it is deleted, but the data from
selection time stay there. THE WAY TO REMOVE THEM IS TO PRESS THE KEY
ESCAPE, AND IT GIVES THE CORRESPONDING INDICATION.
17.3: Add tags during recording/playback:
During playback, or even during recording, it is possible to add tags while
play or record, with the letter m.17.4: Save a preset to an effect:
After adjusting the parameters as desired, in the effect window:
Step 1: Look for a button labeled with the plus sign.
Step 2: Enter there with the left click jaws cursor or NVDA enter of the numeric block.
The edit box will appear to write the name we want to give the preset.
Step 3: With tab, look for the save preset button.
To locate the preset,before adding the effect, properties key, and arrows until you find the preset,
and enter.
17.5: Add effect to an item: Item properties, take fx
button:
You can also use the shortcut key alt é, selecting the item in question.
17.6: Pre-reverb an item:
Step 1: Detach the item in question to a new track.
move to 0 crossing.
s to separate.
The notion of 0 crossing is explained further below.
Step 2: Insert the reverb.
Step 3: Properties key to reverse item, enter.
Step 4: Properties key until apply track fx to items as new take.
Step 5: Remove the reverb from the item.
Step 6: Move the cursor a few bars to the end. shift windows dot to increase size
of the item and have more reverb.
Step 7: Repeat step 3.
If it's too long, cut and fade.
Step 8: Paste back onto the original track.
If items do not overlap or touch normally, press full stop to move each
one of them to the right, or a comma to move each one of them to the left, until you reach the
intended result.
17.7: Stretch markers:
When we insert a stretch marker, it will act as a rubber band over the audio in which
Act.
These marks can be very useful for example to align an audio beat with the metronome.
Insert stretch marker at cursor point: control m.
Go to previous stretch marker: shift+treble.
Go to the next stretch marker: Shift+ordinal.
Move the last stretch marker in focus to the cursor position: alt+m.
Edit stretch marker under cursor: control shift enter.17.8: Loop to sing or play for
top:
Step 1: Record or import the sound to loop.
Step 2: make the cut with scrubing and selection.
Step 3: Properties key. In item settings, check loop item source and loop section of item
source.
Step 4: shift f2 to media item properties. Then, in the edit field, define the time during which
the loop will last.
Step 5: Arm a new track and play or sing over the previously defined loop.
Speaking of loop, if we want the program to reproduce only what we have selected, either in
loop with repeat on, or not, go to preferences, playback, and check the box that says stop
playback at end of loop if repeate is disabled.
This way, even if repeate is inactive, the selection will loop.
If we scrub with the arrow keys while holding the shift key, we are selecting; that's cool!
17.9: Silence a bit on a track:
The easiest way is:
Step 1: Separate the part to be muted into an item.
Step 2: Make sure the active riple mode is off, and simply delete the selected item.
That way the timeline is respected and there is no need to download volumes or other things
like unwanted noise.
A configuration that can also be interesting is, in the tracks menu, configure it to arm
automatically when under the cursor.
17.10: Notion of 0 crossing:Sound results from vibrations in the air or waves.
The so-called 0 crossing, or 0 crossing, is the point where two sound waves come together, but the
amplitude is equal, that is, 0.
Making edits in these 0 crossings, avoid clicks in the sound.
To move to the next 0 crossing, just click on the letter z. For the previous 0 crossing,
shift+z, and the cursor goes there.
To use this functionality, you may want to disable fades in preferences and project.
17.11: Create samples associated with items to be
played on the keyboard:
Reaper has an internal sampler called ReaSamplOmatic, which we will describe in section
later. Now, let's just describe this creative possibility:
Step 1: Insert as many ReaSamplOmatic instances into the track as we want audio items
add.Step 2: Load each audio item in the respective instance into ReaSamplOmatic.
Step 3: On the keyboard, set the note range or start and end key of the sample.
(It is best to enter and process each sample individually, so there is no confusion.)
Next, we describe the same process, but using a ReaScript.
ReaScript is a programming language that Reaper understands, with which you can extend
Reaper features.)
(ReaPack is a list of ReaScripts that you can later add as an extension to Reaper.
created specifically to automate certain processes that require multiple operations. It might be
very useful for us blind users.)
Let's exemplify with a custom battery.
All samples will play at the same speed on the same note throughout the entire project.
First, you need to install ReaPack. Download at
https://reapack.com/
It is described below as:
Step 1: Load all the audios on a track, and separate them into individual items.
Step 2: Alt control a, to select all items on the track.
Step 3: F4 to enter the action list. With the filter, search, or write in the edit field
that appears, the following: rs5k. A result similar to this will appear: MPL export selected item
to rs5K instances of selected track drum mode.
We hit enter, and each of the audio items gets added to a separate instance of
ReaSamplOmatic, and mapped to a key on our keyboard. By default, it is the first C, or the C
center and the keys immediately to the right, according to the order of the items, in the corresponding octave and
in chromatic scale.
Now, we can play or record these samples to be sequenced later, in a rhythm
fully customized.
17.12: Using a vocoder:
A vocoder is a piece of hardware or software that models a sound captured through a
external synthesizer or a synthesizer of the vocoder itself. Here, he will receive the signal from the
microphone, and a midi synthesizer, to give a robotic effect. We are going to use 2 vocoders: the
Reavocode and the MDA TalkBox. The steps to follow are these:
Revocode:
Step 1: Create 3 tracks, one for the voice, one for the synthesizer,and the last one for the vocoder.
Step 2: With i, we go to the vocoder track routing options. Tab to channels, and with the arrows,
we chose 4, thus leaving the track with 4 channels; 2 for the sound input, and the other 2 for the
synthesizer.
Step 3: Insert the synthesizer, and create a sound with a sawtooth wave there to 100%, and
leave the triangular parameter at 25 to 30%.
Adjust the volume parameter so as not to saturate.
If we are using a midi keyboard to control the synthesizer, it is best to enter a velocity
scaler before it, adjusting it so that the dynamics of the sound are the same regardless
the force with which we press the keys. The maximum and minimum speed value should be 127
to counteract the speed effect.
If we are using the computer keyboard, this is not necessary.
Step 4: In the voice and synthesizer routing options, disable the checkbox that says
master send, to avoid feedback or feedback on the master track.
Step 5: Insert the reavocoder into the vocoder track.
Step 6: In the routing options of the same track, define 2 receives; one for the voice track and the
the other for the synthesizer. Voice can be routed to channels 1 and 2.
The synthesizer, for channels 3 and 4.
Step 7: We continue on the vocoder track, in whose routing options we are going to tab, until the
receive settings for the synthesizer created earlier, and, on the delete button, we do
properties button. Then, arrow down to destination, where we direct the synthesizer to the
channels 3 and 4.
If we arm and monitor the voice track, or play something on the keyboard and speak at the same
time, the vocoder will work.
MDATalkBox:
Step 1: Create the 3 equal tracks for the voice, synthesizer and vocoder.
Step 2: Create a folder with all these 3 tracks.
Step 3: On the synthesizer track, define a sound wave of the same type, with sawtooth to
100% and triangulate around 30%.
You can also enter the midi speed controller with the minimum and maximum values ​​at 127,
so that the dynamics of the sound is constant.
Step 4: Pan the voice track to the left channel, and the synth pan to the left channel.
right.
Step 5: Arm the synth and voice tracks. It works!
17.13: Using TapeStop effect on an item:
Step 1: Separate the audio as an item.
Step 2: Control f to insert the vst Tape Stop effect plugin.
Step 3: In the stop slash play parameter, choose the Stop option with the home key.
Step 4: In the Process mode RT slash ol parameter, click on the tab and choose the offline option with the arrows or
man and end.
Step 5: In the off line button state, choose stop with the arrows or home and end.
Step 6: On the down speed slider, choose the percentage. The lower it is, the longer the
pitch bend.
To increase the pitch, in the off line state button, do it in reverse and choose play.
17.14:Assign items to the keyboard by just changing the
pitch and not duration, all based on just 1 item:
Step 1: With the selected item on the track, copy it to the clipboard.
Step 2: Control+period to go to the end of the item. Then, control+v to paste.
2 items are the same.
Step 3: Control+left arrow to select that last item.
Step 4: If we want to raise the pitch 1 semitone, shift+0. If we want to pitch down 1 semitone,
shift+9.
Shift and other top row numbers give us other pitch measurements for going up and down.
To return to normal pitch: control+backspace.
Step 5: With that item selected, control+c to copy it to the clipboard, and so on
successively until we have the items we want.
Step 6: alt+control+a to select all items on the track.
Step 7: F4 to action list, and execute the rs5k drum mode action described earlier.17.15: Use frequency oscillators for
volume and pan:
This effect can be used as a tremolo on a guitar, or to create the chopper effect, in which
if you lower and raise the volume of the audio quickly, and in this case, based on automation.
The plugin used is the JS Volume/pan smoother
This plugin makes volume and pan changes.
To make things more interesting, let's use another tool, the Padre LFO Generator.
This tool will create volume envelopes with a low frequency oscillator, called
LFO
Said like that, it sounds very complicated, but the final effect is that tremolo or rapid rise and fall.
of volume.
Now, let's get to this:
Step 1: We have an audio on a track. To make the volume envelope visible, we press alt
'control+v.
Step 2: Insert the Volume/Pan smootherV5 js plugin on the track.
Very important step 3: With the track selected, enter the volume/pan smoother parameters
with the letter p
, focus on the volume parameter, with the up and down arrows, and tab to close.
Step 4: alt+l to arm the already visible volume envelope.
Step 5: Letter ó to open the priest LFO Generator, and explore the window with tab, choosing the
frequency oscillator parameters and automation points.
Step 6: Click on the Generate button, escape to exit the LFO Generator, and hear the result.
We said that step 3 was very important, because with alt+control+l, we can access and edit
these volume envelopes using a second context menu.
If we don't focus on the volume parameter, we can do the automation, but then we can't
edit the envelopes, if necessary.
17.16: Using the metronome sound as an audio track:
From the insert menu, choose Click source.
There, an audio track is automatically created with the preset metronome sound, and with a
duration, type of sound and number of beats per minute set.
To change the various parameters of this item, as with all other items, we have
shift+f2, or control+f2, each with different parameters, being that,when we access the menu with
shift+f2, we enter the properties of the audio item (take); with control+f2, we access the
source parameters (source item), where we can change, among other things, the type of sound of
metronome we want to use.
18: Brands, regions and transients:
Basically, when we insert tags, we are tagging locations in the project where
we want to move the cursor.
Tags are also very useful when, at the end of the day, we want to render the project in
several files, according to those same brands, to burn a cd, for example.
Regions are something else, although, in a way, related to brands. Defining regions, it is only these regions that are marked as part of the
final rendering.
Everything that is outside the regions is not used.
To define a region, we put a mark at the beginning and another at the end, and then shift r.
We do this successively depending on the number of regions we want.
The first region will comprise the content from the first tag to the beginning of the next region.
The last region will comprise all the remaining content until the end of the project.
To edit the regions: alt shift r.
To move between regions, we use the same commands that are used to move
between marks, with the difference that the regions comprise the spaces between two marks
defined with shift r.
To render the project based on regions, and create a cd, we define that the tracks are the regions
individual. Everything in between is ignored.
If we just want to split into individual files, just define the desired format in the list of
available formats, be it mp3, wav, flac or other.
Don't forget to define, in the bounce options, instead of master mix, choose project
regions. In this way, each region will be rendered in its own individual file.
In the list of actions, there is an action to transform regions into brands, and another to transform
brands in regions as needed.
18.1: Transients:
Transients are points detected by Reaper where the amplitude of the sound wave is highest.
To advance to the next transient, just use the tab during playback.
To control the sensitivity of transients, we do alt+control+page up and down, respectively
for less and more.
To adjust the volume at which the transient is detected, that is, the threshold, we do
control+shift+page up or down for minus or plus.
There is also a JS plugin that helps manage the sensitivity of transients.
19: Items: additional information:
When riple mode is off, the timeline is respected even when we delete an item.
However, we can stretch and shrink items in the timeline.
To shift items on the timeline, use the period to shift to the right, and the comma to
shift to the left.
Again, this all depends on the zoom settings.Items can also be cut, copied and pasted with normal windows commands,
As long as they are selected, of course.
Increase item size:
Left increment and decrement: control 4 or control 6 of the number block.
Increase and decrease right: alt and 4 or 6 of the number block.
By selecting an item and pressing the properties key, we have access to dozens of other
settings that are not worth describing in this manual, but which are practical methods or
alternatives of performing operations in Reaper, when it comes to manipulating and interacting with items.
One of the most obvious is changing the pitch and speed. As already mentioned, these operations
have associated hotkeys which are shift plus numeric top row keys.20: Contiguous vs non-contiguous selection:
Just as we can work with individual tracks or items, it is also possible to select a
or multiple items or clues to perform various operations.
Contiguous selection is the selection of items or clues in a row. Non-contiguous selection is the selection of items
or unfollowed clues.
Example: if I select lanes 1, 2 and 3, I am making a contiguous selection.
If I select lanes 2, 4 and 7, I am making a non-contiguous selection.
The shift key indicates that we are selecting, and we confirm the selection or not, with the toolbar.
spaces.
Reaper also tells us whether or not we are in contiguous selection mode; he says contiguous
selection mode, or non contiguous selection mode.
The shift key in combination with space is the toggle between these two modes.
To select items on the tracks, we use the control and arrow keys, but without releasing the shift key.
As the escape undoes the time selection, to deselect all tracks and items we use shift
exhaust.
21: Midi sync and instrument insertion
virtual:
This type of operation only makes sense when we have an external keyboard that works as
midi controller, sending instructions to the computer. More about midi in section 22, the section
corresponding in this manual.
21.1: Connect a keyboard to reaper:
After connecting the keyboard to the pc via USB or din, let's go to preferences, midi devices, and the program
should detect the instrument. Then we go to midi devices, explore the window with tab and select
the options referring to the keyboard instrument that we are associating. From that moment on, it is
possible to synchronize the keyboard and the computer via midi, through Reaper, basically by inserting
virtual instruments, the so-called VSTI.
21.2: Insert a virtual instrument:
To insert a virtual instrument, proceed as follows:
Step 1: After purchasing it or downloading it from the net, we put this instrument, preferably,
in the folder where we have all the VST plugins.
Step 2: In Preferences, plugins, vst, do a new scan so that Reaper detects the new
plugin placed in the folder.
Step 3: In the Tracks menu, choose the option virtual instrument on new track,and appears to us
list.
Step 4: When we enter the desired instrument, it is automatically inserted into the track, and
we can start playing on the keyboard synchronized via midi, or with the computer keyboard. The disadvantages of the computer keyboard are: it does not respond to the sensitivity of the fingers, the
sound mapping is a bit haphazard on the keys, and you have to adjust the octaves
constantly with the left and right arrow keys.
To switch between computer keyboard and midi-enabled keyboard, the shortcut is alt b.
21.3: Insert more than one instrument in the same
track:
Step 1: Insert the first instrument as described above.
Step 2: In the effects window, press the Add button and locate the second instrument,
adding it in the same way.
Step 3: Find the instrument that is at the top of the list, and with shift+tab, find something
like 2 32 out or 2 64 out. (Sometimes the screen reader reads October).
This is the button called plugin pin connector.
Step 4: There, key of applications and arrow down to Midi Output submenu. We go in and choose
Merges with midi bus option.
Depending on the instruments, it may be necessary to make final volume adjustments, but following these
steps, we have two or more instruments on the same track.
21.4: Notes:
Note 1: Plugin scan or rescan does not always work the first time, so it may have to be done
several times.
Note 2: When running a 32-bit plugin on a 64-bit reaper, the interface is shown in a
window called bridge. Some plugins are not detected, but those that are can be run
without that bridge window. For that, before inserting the plugin in the track, with the properties key,
we choose the corresponding option from the context menu.
Note 3: Reaper already comes with some very basic synthesizers that can be inserted directly
without pre-installation.
22: Compose and sequence in midi:
It is important to remember that midi is not audio. Midi is the acronym for MMUSICAL
INSTRUMENT DIGITAL INTERFACE, or musical instrument digital interface.
Midi is a protocol of instructions received by the digital instrument that will decode them, and
then convert those instructions into samples or audio samples.
When we're going to record something in midi, it's always better to have a metronome and define the
number of beats per minute, so that later, if the quantization is needed, everything is easier.
22.1: Quantization:
Quantizing means aligning what we play exactly in time given by the metronome.
represent these divisions. Reaper, like all programs and devices with these functions, has
a timeline or grid that we adjust according to what we are playing. With control shift and numbers, we define the type of grid we want. Then just do
control shift q to quantize, and the sound will be aligned according to that grid.
If our musical notions are more by ear,we are going to configure several types of grids and
experimenting with several quantizations until the result is the desired one.
Quantization usually applies to the rhythm part; battery and, if necessary, low.
After inserting the virtual instrument, we can record on the track, just like in the audio.
Let's assume that we already have the project created, and we have already defined the metronome.
We want to record and quantize the drum part which is a virtual instrument.
The procedure is:
Step 1: r to record, and the metronome starts counting.
Step 2: Let's run the rhythm according to the metronome count, as much as possible in the
time.
Since we won't always be able to be exactly in time, we can quantize.
Step 3: Select the recorded item or items. If there are multiple items, select them all with
control+alt+a.
Step 4: Snap to the grid with control shift and the appropriate number, so that the times and divisions
stay right.
Step 5: Control shift q to quantize.
To quantize, it is advisable to have at least some musical knowledge regarding the
times and respective divisions. If not, let's try it out to see how it goes.
It is possible to record the track already quantized, record and quantize from beginning to end, as already described,
or quantize a certain part.
22.2: Quantize a part:
Step 1: We move the cursor to the beginning of the part to be quantized.
Step 2: Alt shift apostrophe and alt shift double quotes to define beginning and end of the part to be selected.
Step 3: Control shift and the right number to set the grid.
Step 4: Control shift q to quantize and then just listen to the result.
22.3: Sequence:
Even not being the most expert performers, we can sequence our music, making the
arrangements, the melodies and harmonies of the music.
With the properties key, we open the midi track's context menu, and we have several choices:
Midi overdub: In which we successively superimpose one part and another, and it is possible that they can be heard
all overlapping parts.
Midi replace: In which we replace a badly played part, for example. We adjust these
settings as we need them throughout the project.
22.3.1: Set and change time:
In order for all instruments to be in time, we must use the metronome.
With alt and enter, we go to the project properties. Giving some tabs, we find all the
time division and metronome settings. Among them, the number of beats per minute
(bpm). In this box, we enter the number of beats per minute that we want, and in the settings at
around, we define how we want the bars to be divided.
We can also save these default settings in the project. This means that whenever
we open a new project, it will have those definitions.
Once these adjustments are made, listening to the metronome, we can record and play in time.
However, let's assume that our project has two or more parts, and each of the parts has
different bpm.One way to adjust the metronome is to do it per item. So:
Step 1: We split the main rhythm track into items.
Step 2: On each of them, we do shift+c, to enter the item's time settings, and
we set the desired tempo and measure.
In the end we can merge all these items into one.
22.3.2: Finding the time using the Tap function
Time:
When we can't find the tempo of a song, we can do the following:
Step 1: Control+shift+m ​​to turn on the metronome.
Step 2: Line up the beginning of the song as closely as possible with the first beat of the metronome. For
this, it may be necessary to cut the silence at the beginning.
Step 3: Momentarily turn off the metronome. Go to project properties, and tab to time
base for items, envelopes markers, and in the combo box, choose time.
Step 4: Put on playback, and according to the time we hear, press h to hit
the metronome.
Step 5: Turn the metronome back on and put it on repeat to see if the song is on
sync with the metronome.
If you are, great. If not:
Step 6: Go to project properties, and decrease or increase BPM as we go
listening to music.
It should be noted that, even if there is synchrony for one or two measures, it is advisable to go further to
forward to make sure the sync is maintained as much as possible.
22.3.3: Finding the time by marking a loop in the
song:
A second method is described below:
Step 1: With the metronome off, we make a selection that corresponds to a bar in the
song.
Of course, you should already have the first beat of the song aligned with the first beat of the metronome,
as in the previous case.
Step 2: Do control+r to activate repeat mode, to see if the loop is well defined.
Step 3: Listen and make the necessary adjustments, or leave it at that, if the loop is well defined.
Step 4: Do control+alt+shift+c. A window opens in which Reaper displays the value of
time calculated in that loop, among other information. What matters to us is exactly this value.
We hit enter, and the metronome is automatically adjusted accordingly.22.4: Midi editor:
The midi editor opens with control+alt+é.
It has 4 main areas:
A: Piano rol: shortcut alt 1: where we see all the musical notes that we are going to sequence.
B: Musical notation: where you can see the representation of these notes on the staff.
As far as I was able to ascertain, it is not usable by blind nodes, because the program does not translate the notes to
the braille.
C: Quantize, shortcut alt+4, to quantize as we've seen.
4: Filter events or event view: shortcut alt 3: Where all the note parameters are visualized, or
events such as channel, duration, speed, etc.
The most important will be the piano roll.
22.5: Piano role:
In it we see and hear all the notes played.
We navigate through the notes with the left and right arrows.
When we stop the cursor on a note, it plays and is selected.
If we have a chord,the two or more notes of the chord are navigated and selected
individually with the up and down arrows.
With the cursor over any note, we can do several things. For these things, we will use the
numeric block. Turn it on, of course!
22.6: General functions of the keys on the piano roll:
In addition to the numeric block keys, alternative keys are listed for when the numeric block
Not Available:
Open piano roll: alt+1
Previous item: control+left arrow
Next item: control+right arrow
Select all items from time selection: control+shift+a
Select notes with the same pitch: shift+a
Select all notes with the same pitch from the tempo selection: alt+shift+a
Next cc event group:alt+equal
Previous cc event group:alt+ifen
Move to previous cc event: control+ifen
Move to next cc event: control+equal
Decrease the value of the cc:ifen event a little
Slightly increase the value of the cc:igual event
Move to previous cc event and add to selection: control+shift+ifen
Move to next cc event and add to selection: control+shift+equal
Decrease 1 bpm: alt+ifen (also works in audio window)
Increase 1 bpm: alt+equal (also works in audio window)
Enable and disable playback position following the number of bpm: alt+back space
Keep notes legato while preserving start time: g
Close window: control+f4, control+w
Now here are some numeric block shortcut keys, with keyboard equivalents
qwerty for song editing: 22.6.1: Functions of qwerty keyboard keys on piano
role:
l: Increase note duration 1 unit on the grid
Alt+l: Stretch note 1 pixel
Shift+l: Decrease note duration 1 unit in grid
Alt+shift+l: Decrease note 1 pixel
p: Move the note to the right 1 unit in the grid
Alt+p: Move note right 1 pixel
Shift+p: Move note left 1 unit in grid
Alt+shift+p: Move note left 1 pixel
v: Increase note speed by 1
alt+v: Increase note speed by 10
Shift+v: Decrease note velocity by 1
Alt+shift+v: Decrease note speed by 10
n: Increase note 1 semitone
Alt+n: Raise the note 1 octave
Shift+n: Decrease note 1 semitone
Alt+shift+n: decrease note 1 octave
22.6.2: Functions of the numeric keypad keys on the
piano roll:
The order and description may be spelled differently, but the function is exactly the same.
same as the qwerty keyboard.
4 and 6: move the selected note or notes back and forth one element according to the
defined grid.
1 and 3: Increase or decrease the note duration of an element according to the defined grid.
7 and 9: Decrease and increase speed in increments of 1.
2 and 8: Decrease and increase the note by 1 semitone.
If we add alt to these keys, we will have more functions:
Alt 4 and alt 6: move the note back and forth by 1 pixel.
Alt 1 and alt 3: Decrease or increase the duration by 1 pixel.
Alt 7 and Alt 9:Decrease and increase speed in increments of 10.
Alt 2 and Alt 8: Lower and raise the note by one octave.
Pleasantly, as we make these changes, we hear the result in real time.
Contiguous selection also works in midi editor. Just hold down shift, scroll through the
notes, and, by pressing space, select contiguous or noncontiguous mode.
To be sure what is selected, just control shift space.
If we create a time selection in the midi editor, and do control shift space, we see the beginning,
the end of the selection and the number of bars or bars selected.
Selection by midi items is possible, but it doesn't work very well.
An interesting thing can be to do to a note what you do to an item, that is, separate or split
with s, after defining the grid according to what we want, and thus, we transform a
note in two with the same pitch.
If we notice that one of the notes is shorter or longer than it should, we select it and do
control shift l. This will allow us to create legatos and staccatos!
If in the midi view we do q, we will have one more dialog to quantize, which seems to me
redundant, but it's there and it works.
In addition, it has more specific quantization parameters.
22.7: Select and move bars in the midi editor:
22.7.1: Based on time selection limits:
This operation is especially useful when we want to take a certain number of measures
and repeat them because they will always be the same, just like in a drum section.
The following describes the steps for selecting and moving bars on tracks by selecting areas of
items according to time selection:
Let's imagine we have a bass track and a drum track.
The two will have the same duration, and the battery is already complete, but, as the bass is always
the same, we don't want to be playing that part all the way through.
Step 1: We set the time selection according to the desired number of bars.
At the moment, the team selection covers the bass and drum tracks. Now we want to copy
just the low for further. So:
Step 2: We move to the bass track and alt+shift+a, to select the area of ​​the bass item.
according to that team selection.
Step 3: Control+windows+c to copy that specific area, or alternatively, control+shift+c
for smart copy.
Step 4: We move the cursor to the desired point on the desired track, in this case the bass, and give
control+v to paste.
22.7.2: Based on time selection limits, but in
non-contiguous selection:
Let's imagine that we have track 1 with drums, track 2 with bass, track 3 with guitar and
track 4 with voice.
We just want to replicate the bass and voice bars, i.e. track 2 and track 4, so in selection
not contiguous. Then:
Step 1: Select the desired tracks from bottom to top, that is, from 4 to 2, in selection no
contiguous and without releasing the shift key.Selecting or deselecting is with the spacebar.
Step 2: Set the time selection on these two selected tracks according to the bars
desired.
We can always do control+shift+space to make sure what is selected in
terms of lanes and selection size.
Step 3: Alt+shift+a to select the desired area on those tracks only. .
Step 4: Control+shift+c for smart copy. Only this content will be copied to the
transfer.
Step 5: Move the cursor to the desired area, and paste.22.8: What can be done in the interesting view
events:
We can insert an event, for example poly after touch to add more expressiveness to the
note.
We can also insert CC events or control changes, such as volume changes, panning, pedal
sustain, portamento, etc.
We can also insert soundbank changes, if the virtual instrument we are using
have more than one.
You can also insert a pitch bend event.
22.9: Humanization:
It's the opposite of quantization, so the music doesn't get too perfect. the shortcut,
naturally is h.
It's pretty intuitive.
22.10: Step recording; stage recording:
As the name implies, it lets you enter the notes one by one, instead of playing.
For this, we have to follow the steps below:
Step 1: Insert the instrument.
Step 2: Insert midi item.
By default, the item has a duration of 1 measure. Therefore...
Step 3: Create a time selection with a reasonable duration.
Step 4: Alt control is, to open the item in midi editor.
Step 5: Define the type of grid we want.
Step 6: Play the melody or rhythm we want.
If we use a keyboard, all midi messages will be registered, such as speed, duration
of notes, etc.
To add notes, we have to know which grid we want and adjust successively.
As we want the duration of the note, let's select it and with control shift l, they will be
adjusted according to the grid.
It requires knowing exactly what you want, and the intended measurements and divisions of time. Is able
to take more work to do note by note, but it is possible.
It is also possible to record in phases using the pitch cursor, which is to search for the intended note with the 2
and the 8 of the number block, and insert it with i.
If there are repetitions, like a bass, for example, you can copy it to the bar where
want to insert, it is not necessary to touch everything.
Select all notes with the same pitch: control shift a.
22.11: Note:
Most midi compositing and sequencing operations are done in the Midi Editor.
This should be opened with the track we are going to work on, and the respective item(s) selected. To open the midi editor: alt control is.
23: Sampler function:
Reaper comes with a very interesting plugin called ReaSamplOmatic. With this plugin, we can
take any audio file, and, with the keyboard connected to the computer, sample that file and
play it on the keyboard.
For example,if we blow on an empty bottle and record the sound, then we can import that
sound in ReaSamplOmatic and, following his instructions, sample on the keyboard and record via midi. That
opens the door to a lot of creativity.
Just add ReaSamplOmatic to a track as a virtual instrument, and follow the instructions.
The process will not be described here as it is very intuitive.
23.1: Separating batteries with ReaSamplOmatic:
This is not necessarily necessary, but it can be useful.
We already have the drum part recorded all on the same track; kik, snare and hi hat. We want to separate the
snare, for example. Then:
Step 1: Create a second track for the part to be separated, in this case the snare.
Step 2: Open the drum track item in the midi editor.
Step 3: Control shift a, to select all notes with the same pitch, that is, in this case the
snare.
Step 4: Cut them from the first track and paste them into the new one, without moving the cursor.
In addition to the rest, we can take advantage of this sample, and, from another plugin called Sforzando,
perfect your sound, based on creating and manipulating an sfz file.
This will be described in the dedicated section.
23.2: ReaEq:
ReaEq is a multiband equalizer that lets you adjust all aspects of the sound to the
frequencies that are present.
We can use as many equalization bands as we want.
How can we decide this?
Usually one band is used per task, and basically 6 types of bands. The order is indifferent;
it just depends on what is needed at the moment.
The 6 basic types of bands are these:
High pass, low pass, highe shelf, low shelf, band, band pass.
High pass: enhances only the highest frequencies and subtracts the lowest.
Low pass: Enhances only the lowest frequencies and subtracts the high ones.
In the case of ReaEq, the subtracted frequencies do not disappear completely, they are subtracted in a
12 db per octave scale.
For example, from 100 to 50 hz, the subtracted frequencies lower 12 dB.
From 50 to 100 Hz, the realsed frequencies go up by 12 dB.
If we want a more noticeable effect, it is best to add more bands of the same type to subtract
or add. Low pass and high pass are simple. We just have to choose the filter we want, be it high
pass or low pass, and set the frequency. Gain control and bandwidth control
in this case they do nothing.
Band or normal band only works the gain.
High shelf or low shelf increases or decreases the volume depending on the frequency at which
find. For this, the gain control is used again after finding the frequency
desired.
Low pass is the opposite of high shelf.
High pass is the opposite of low shelf.
Ie:
If we want to filter and keep the high frequencies, we do high pass or low shelf.
If we want to enhance the lows, we do low pass or high shelf.
On the high or low shelf, the gain has to be increased or decreased to hear the difference.
Bandpass:Only the current bandwidth is heard.
Here you use the bandwidth control to increase or decrease the bandwidth, and the
Frequency control to find the most exact frequency possible.
It is useful to find the frequency from which to act.
After finding the frequency and correcting what you want, change from band pass to normal
band, raising or lowering the gain to enhance what is already found and corrected in terms of
frequencies.
It is more productive to work in the effect window than in the parameters window.
To navigate between bands, we use control tab.
The fastest way to get to the band type is to shift tab to the combo box and choose the type of
band with vertical arrows.
Then shift tab to the Bandwidth, Frequency or Gain controls as needed.
required.
Each control is followed by an edit box where we can type the value, if we already know which
we wish.
Let's exemplify:
We want to simulate the voice on a telephone line.
We can use 3 bands:
Band 1: High pass above 1500 hz.
Band 2: Low pass below 1800 hz.
This results in a bandwidth of about 300 hz.
So, if that's the case, we can add a band like band, and raise the gain slightly,
maybe about 5 db to enhance that middle zone.
High and low pass are used more when we want to make very deep adjustments.
The high or low shelf are used more in the context of small corrections.
Wups! This is a little tricky in theory. Maybe it's easier in practice!
23.3: Media explorer:
A very interesting feature, especially when we need to load to Reaper,
audios that already exist, as for example, when we work in radio and use the
background tracks or music.
First, we have to enable this feature.
Step 1: In the View menu, let's make sure the mixer is off.
Step 2: Control+alt+shift+up arrow to enable the feature.
Step 3: Control+alt+x to switch between the media explorer and the time line. The media explorer allows you to explore all the audios we have on the pc, and load them directly to
Reaper, as well as creating custom libraries and other interesting functions.
The operation of this resource is very intuitive, and another of the added functionalities was the
ability to load samples into Reaper's native sampler directly from the media
explorer.
24: Create and work with sfz files:
To talk about sfz files, we have to understand a little better what you can do with
a sample, and how it's done.
The sample can be, so to speak, divided into two parts or layers:
A: Sample layer: the recording of the sound itself, which is then mapped and spread across the entire keyboard.
B: Synthesis layer: All parameters that we can then edit, like speed,
sustain, attack, release, decay, portamento, etc, etc.An sfz file is a text file with the same extension, and can be created and edited in
any simple text editor, preferably one that is really simple like notepad
or notepad++.
There are editors for sfz but they are not very accessible and since we have the notebook...
The sfz format is open source.
In a way, these files have a similar structure to html or xml, and that's where we're going to
define all parameters of the synthesis layer.
The lines of code that make up the sfz format are called opcodes, or
operation.
Personal comments can be included in an sfz file. The condition is that at the beginning and end of the
comment, place two successive slashes.
These files basically consist of 4 parts:
1: Control section, 2: Global section, 3: Group, 4: Region.
In the control section, information about the physical location of the associated audio files is given.
to that sfz, as well as the desired polyphony, or number of keys pressed simultaneously
to create a chord with that sample.
In the global Section you will find all the references to the samples and their parameters.
Basically, the Global Section will comprise the Group and Region parts.
The difference is that if we change a parameter in the group section, the change will occur in all
samples within that group.
If the parameter is changed in Region, the change takes effect on an individual sample only. These
files can be opened in the Sforzando plugin. Maybe that's where the sfz extension comes from.
If nothing else, Sforzando will assume that each keyboard key will play the sample at a
speed, or in this case, sampling tack.
If the sample is a prolonged sound like blowing on a bottle or clinking in a glass, it will
assume that middle C on the keyboard actually corresponds to a C in that sound.
If we want to be more sophisticated, we can define the note we want to be played.
But if we want to be really specific, the best thing is to compare it with a sound on the keyboard, or
even an alternate track with a synthesizer.
It is recommended to make a backup of the latest full version, but the interaction with the format
sfz is immediate, that is, having sforzando in one window and notepad in another, each time
we save a change to sfz in notepad, sforzando immediately reloads the new one
configuration.25: Brief notes regarding keyboard commands:
25.1: Modifier keys:
The modifier keys are usually control, alt or shift.
Due to the large amount of actions and commands, regarding these keys, the commands were
defined as follows:
For commands referring to tracks, alt is normally used as the modifier key.
For commands referring to items, use control.
25.2: Final Note:
Almost all keyboard commands referred to in this manual work. However, if any
has an error or does not work,the solution may be to press alt shift, to switch to the
US English keyboard.
In case this language is not installed on the system, it can be easily downloaded and installed,
directly from the Microsoft website.
A second alternative is to assign or modify shortcut keys, using the Actions menu with f4.
Since each brand and model has its own specificity, this manual does not mention the
key combinations for portable computers.