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We'll be taking a closer look at many of these individually later in this User Guide. You can also use the Navigator window to scroll thru your project. Then hold down the left mouse button. Navigator command. Other ways of using the Navigator are: The keys Ctrl Alt V can be used to toggle the Navigator display on and off.
It can be useful to display this when you are zooming closely on an area of your project. Release the mouse button when finished. Mousewheel 2. Simply position the mouse over the box within the navigator window that represents the on-screen area of your project. To use any of these FX. VST3i and DXi. To display the Navigator. Insert an instance of the plug-in into any track.
To add more F1X. Most of the Cockos Rea series of plug-ins include a number of presets. Select the required preset from the drop down list. Choose Import Preset Library.
When you add any plug-in to any track's FX chain. You will find many examples in Chapters Double click on the required FX name. Cockos ReaDelay includes presets which as a starting point you can try with your various tracks. Select a category. Simply display the drop down list and select the item that you want example shown right. If the Add FX window see below is not automatically displayed.
This opens the FX window for that track. Type your own name for the preset and click on OK. All FX in that category will be listed. For more detailed information and more advanced examples. Navigate to and select the required file then click on Open. All Plug-ins. You can explore these for yourself to discover what is available. The use of these FX is a huge topic. To set any FX preset as the default for that FX 1. If you prefer. The title bar of the floated window will display the track name.
Adjust the values for Track FX Drag with the mouse. Save Chain as default default for new tracks for new tracks. To copy automation envelopes with the FX. For example: For fine adjustments. Intimate female vocal. Any existing routing configuration will be preserved. From the context menu. Right click on the FX window and click on the Add button. Open the track FX window and click on the Add button. Dock FX Window in Docker command. You might prefer to instead use these keys in arrange view even when you are working in the FX window.
Click again to reverse this. These are discussed in Chapter If you switch the FX to bypass mode before saving your FX chain. Add FX Chain command. Load Default Track Chain command. Track FX as a chain FX parameter settings are saved with the chain. Save the current sequence of In the Track FX window. Save FX Chain command.. The command FX keys are displayed on the menus. FX Plug-in settings Settings command. This example uses the sample project file All Through The Night.
You should see that the two plug-ins. Notice that the illustration below The Bus can be inserted anywhere in the project that you like. We will then ensure that both of our guitar tracks use the chorus. If you wish to make changes to the contents of your default FX chain. We will use this track to create our FX chain. Open the FX window for your new tracks. Open this file.
Close the FX window. This can be useful if you need to conserve CPU. Insert a new track anywhere you wish in this project file. Right click over one of the FX and from the context menu.
If you hold down the Ctrl Shift keys when opening a project file. Typically and in the example shown here this is achieved by directing the output of the FX Bus to the Master. There is no need to save the changes to the project file. This saves on valuable computer resources such as CPU. In the first left column of the Add FX window. The difference is determined solely by how you use it.
Select in turn. Note that when you use a Bus in this way: Open any project file and add a new track at the end. Make sure that both these FX are unticked — this sets them to bypass. The exact meaning of the term can have several variations. RPP before embarking on this example. Insert New Track command.
FX Bus. T or double click in the vacant track control panel area beneath the last track. Adjust the chorus FX parameters. Display the routing window for either guitar track and adjust the send levels for that track. To Create Sends from the two guitar tracks to the Bus: Close the Bus FX window. Adjust output volume fader for the track called FX Bus.
Making Adjustments When you now play the song. To Create the Bus and add the FX to it: Note that for every send there is an equivalent receive. There are four main ways to adjust this. Experiment until you find what gives you the results you want: From the list of plug-in types. Adjust the levels of one or both of the receives in the FX bus routing window.
Right click on track name. Hold Ctrl key while clicking FX Bypass button for any track. The table below summarises these options. If any track shows an unexpectedly high reading. Bypass button for any track in the selection.
In order to do this … In Mixer or Track View. To open a track FX chain. Works with single Master track or multiple track selection. To help you overcome this.
This can be used with a track selection and is independent of the track's master send status. You can of course also toggle FX Bypass for any track. Output or MIDI output as required then choose from the sub- menu. To display the Performance Meter. This feature is useful if you have a large number of tracks in your project. You can use the Performance Meter window to browse thru your project file. Example In the example shown right. Performance Meter command. This can also be done in the mixer view.
See Chapter 11 for a description of the full range of options. Click the FX Bypass button for any track.
The first is accessed by right clicking in the track list area. If it is disabled not ticked then making a time selection and defining a loop become two different things. If when you attempt this. You can also use this menu to move the window to the docker. Right click anywhere in the main Performance Meter area to display this. The other menu is used mostly to select what information you want shown in the window. Notice that the start and end of the loop are marked by two small triangles.
If it is enabled ticked then making a time selection and defining a loop are the same thing. To set the loop selection to match a media item. Right clicking over the Big Clock gives you a context menu of options. Now when you play the project.
Right click over any track. To set the time selection to match a media item. Snapping will be discussed in detail in Chapter 7. Whichever is the case. The effect of this is illustrated above. In order to do this. This window can be sized and moved at will. If loop points are linked to the time selection.
Chapter 9. Beats and Minutes: To change the region defined as your loop. Ctrl Alt. To modify a loop selection using the mouse. Holding Ctrl while you do this cause any snap settings to be ignored. Shrink Time Selection from right by nudging right edge left a little. An example of this is shown below. This may or may not also change the loop selection.
If loop points are linked to time selection. Frames or Absolute Frames. Extend Time Selection from left by nudging right edge right a little. Dragging left from the start of the selected area extends the selection left. There's more about loops and time selections elsewhere in this guide. To clear the loop altogether. Move Time Selection left by time selection length. You can also use this menu to change the units used on the timeline — for example.
There is also the option under Options. If loop points are not linked to the time selection. The other commands on this menu will be discussed elsewhere in this User Guide. Preferences on the Playback page to stop playback at the end of a loop when the repeat function is disabled. This is known as the repeat function. You can also modify a time selection by first clicking then scrolling the mousewheel over the Selection area of the Transport Bar.
Scroll over the start area to adjust start time. These are features that you are likely to find useful when editing your files. Right clicking on the Timeline then gives you a menu of commands which you can apply to a time selection. As you progress thru this User Guide. Loop points linked to time selection setting. There are also several keyboard shortcuts you can use for managing Time Selections. Dragging right from the finish of the selected area extends it to the right.
To move a loop selection. Beats minimal. Alt S will toggle snapping status on and off. Jump To command. Markers and regions are explored in Chapter 9. Ctrl PageUp Zoom back to Project. Shift Left Arrow Drag cursor to the right and create time selection. In specifying the place to jump to. Play back project skipping over Make the required time selection and position the play cursor time selection anywhere before the start of that selection.
In the example used here. Esc If you wish. First you need to position the cursor at either the start or the end of the loop. You could therefore use either format. Press Alt Space. Another easy way to open the Jump to dialog box is to double-click on the time on the transport bar. Shift Right Arrow The following keystrokes can be used to zoom when you are working with a time selection: Function Keystroke Zoom to Time Selection. Copy portions of selected media items in Time Selection. Ctrl PageDown Tip: If you are unable to position your cursor exactly where you wish when creating a loop selection.
Go To. R2 to jump to the start of region 2. Function Keystroke Drag cursor to the left and create time selection. The actual contents of your Track Routing window will vary according to your project structure and your DAW hardware setup e.
This topic will be covered in more detail later. MIDI output. More complex routing options will be covered later in this Chapter. In the earlier example. A track's output can be routed via a send from any track to any other track or tracks. To close the track routing window. Buttons and Icons Depending on Appearance. You can also specify whether to send audio output. Each track includes a Routing Button in its panel toolbar shown right.
This section introduces you to basic routing concepts. Depending on the nature of your project. Media preference settings. MIDI devices etc. If your audio device has multiple outputs. You might also see some media item icons or buttons. Hovering the mouse over this button will display a tool tip.
You were introduced to some basic examples earlier in this chapter. Notice in particular: In the sample files provided. Clicking the button causes the routing window for that track to be displayed. You'll learn more about this when we examine media items in Chapter 7.
Routing can be very simple or extremely complex — and anything in between. If that is all you need. A quick way to create s send from one track to another is to drag and drop from the route button on the source track to the destination track. The illustration below shows an example of the Track Routing Window for a track for which both a send and a receive have been created.
It contains two small blobs. The differences will be discussed in Chapter Drag and drop routing. After you have mastered these. You will be shown how to do this later in this User Guide.
Sends and Receives can be any of three types. These are Post Fader Post Pan. Approach track routing gently at first: See also the flow charts at the end of Chapter 6. This is explained in detail in Chapter When you create a new project. The early chapters of this User Guide will take you thru the basics of track routing.
Press Alt R to display the routing matrix. By right clicking over this cell. If for some reason you did wish to direct your output to any non-standard pair. This topic is covered in Chapter Project Management Features. In the illustration here. More experienced users might be interested to know that if you wish you can work with multiple dockers. This can be used to ensure that when floated and not in focus. Notice also that: The keyboard shortcut Alt D can be used as a toggle to show or hide the Docker or Dockers.
Usually their purpose will be obvious. It is quite likely that you may want to use. By default the docker will be attached to the bottom of the main window.
If a Window is docked when it is closed. Right clicking over the title bar or background area of most windows causes a context menu to be displayed which will offer a list of choices relevant to that window.
When a number of windows are docked. This includes a Channel naming section. Click over the small exclamation mark in the bottom left corner of the Docker and use the option to Attach Docker to Main Window to toggle. This will include an option Dock in Docker. These are used to select which item is displayed by the Docker at any time. Within the Undo History window you can even store alternate sequences of commands and actions.
Setting this to zero will effectively disable this feature. Click on this to toggle its on top status. Cascade all floating windows.
Preferences includes a section which you can use to determine the behavior of the Undo History. Note also that the Undo History window is dockable. To do this as with most other windows. On the Appearance page of your Preferences settings.
When the pin is shown in the down position. Another useful command can be View. If you enable this. This means that even after retrieving the project file at some later date. Click a second time to close this window. You can double click on any event displayed in that window to go back to that point. The View. You can click on this at any time to open and display the Undo History window. The General settings page under Options. You can also specify that the play cursor should be moved when you click on the Time Ruler.
To open a file in a particular project tab. Force project tabs visible when monitoring FX in use. This inserts a new tab. Show project tabs on left side of window: Displays tabs on left of window instead of top toggle. These commands and Offline background project media are mutually exclusive. Run background projects. Displays tabs whenever FX monitoring is active. This allows you to play the project in one tab while working on another. A new tab will be opened labelled Unsaved. To open it in a new project tab.
Open Project command in the usual way. Close All Projects command to close all open projects at once. Note that the small X button used to close a project tab can be positioned to the left or the right: Commences playback of projects in tabs not currently selected.
Seeking settings. When this is enabled. Closes all project tabs except current one. Always show project tabs. Close all projects. Run stopped background projects. Open project command. Simply use the File. Use Ctrl Click to build your selection. Close all projects but current. Note there are other options relating to parent projects and subprojects. Shows project tabs. Closes the current project and the tab with it or click on the X at the left hand end of the tab.
Pressing Pause or Enter will pause playback at the current play cursor position. Right click over any project tab for the project tab menu: New project tab. You can jump between projects simply clicking on the tab. Closes all open projects. To create a new project tab when you already have one file open. RPP files are in the same folder. Play stopped background projects with active project: Causes background projects open on other tabs to be played with the current project. Ensures that when one of a number of open project tabs is selected.
Multiple project tabs can be reordered using drag and drop. Close project. You can also specify the frequency in minutes of automatic saving. All tracks. If this option is selected. This helps protect you against accidental loss of work. Amongst the most useful options on this screen are the following: If you enable this option.
At the end of the chapter. The Project page within the Options. This feature is explained in Chapter New Project command. This can help to protect you from the consequences of an unforeseen circumstance such as a power outage or a computer crash.
This enables you to use an existing project file as a template for new projects. This can help ensure that you select the correct recording format and other settings that you require.
As a rule. Other formats. There is also a drop down list where you choose to write as cues to your recorded media files markers and regions. The settings shown would be suitable when the output is to be rendered to CD audio. Save Project command. MP3 you can render your files in that format. Be aware that increasing sample rate also increases media item file size and slows down processing.
When saving a new file you are offered a number of options. If you also select Copy all media into project directory you may also specify a format for these items to be converted. If you select Move all media into project directory. If you wish later to use some other format such as. This is specified on the main Project Settings page. Optionally you can ask to Copy rather than move source media if not in old project media path. You should also make sure that you get into the habit of frequently resaving your project after making changes.
The easiest way to do this is simply to press Ctrl S. If you are not sure. OGG and WavPack. You would be likely to choose this. Choosing any of these will present you with further options appropriate to that format.
See Chapter 9 for more about markers and regions. You will need to specify a project file name. You can choose to Create subdirectory for project. The location of this button may vary according to your choice of layout and the TCP column width. The number of different sources that you can record at the same time is limited by the number of enabled inputs under Preferences. We'll look at more of these recording preferences later in this chapter.
This is the first item Monitor Input on the Record arm button right-click context menu. Device on your audio soundcard.
Consult the sound card's documentation for more information about this. Enable Input Monitoring. Insert New Track command or by pressing Ctrl T. You can add tracks using the Track.
Mono options. Before commencing recording.
We'll examine the other modes as this chapter progresses. Note that the recording level You do not need to specify when creating a track whether it is to be a stereo or mono track. If your sound card does not support direct monitoring.
Under Options. The exact options on that menu will depend on which sound card and audio device s you have installed. This will be the one to which the microphone or line that you are using for recording is connected. Click on the Record Arm button for that track on the left The button should now appear red. If you are not sure which option to pick. Audition the sound while you adjust the volume on your audio desk or sound input device.
The media file that is created when you record will then be given a sensible name that matches the track. Note that both stereo and mono tracks can be panned between the left and right speakers as you wish.
These are Optionally. Click the mouse over the Input settings for that track below the pan fader. If your sound card supports direct monitoring you will most likely wish to use that. These can be any combination of track index number. It is advisable to name the tracks before you start recording. Check the Options menu to make sure that Record mode: Normal is selected.
When assigning the track input for recording. In most cases.
Panning is a topic that occurs throughout this guide. There's more about input monitoring in sections 3. Select the required input from the menu. A project can contain as many or as few tracks as you want. One method is to use the Routing Matrix. Use the Insert. This is something that. Audition the instrument. Select all tracks to be recorded. Note 2: If recording an instrument in-line. Those tracks will then also be recorded from the point at which you arm them. If you were to record now.
Name your new tracks. Turn the output on the instrument fully up 3. When recording. To finish recording. Press the Record button on the Transport. This means you can also arm additional tracks after the recording has started. You could end up with one input being recorded more than once. Select the number of tracks required and choose whether they are to be inserted After the last touched track or At end of project. Multiple tracks command to insert as many tracks as you require.
After making your selection. Turn the input or gain control on your input device e. The Input menu shown above includes an item Input: Note 1: If you use the Record button or Ctrl R to stop recording.
Notice also that by default. If you press Space or Stop. This can be used to prevent material from ever being accidentally recorded onto a track where it is not wanted. Press Alt R to display this. The Insert tracks dialog will be displayed.
Click on OK. To avoid this problem. MIDI inputs may also be selected — these are listed below the audio inputs.
You can also right click over any red cell to access the Record Input menu should you wish to do so. Metronome enabled command to turn it on and off or left-click the metronome button on the toolbar.
To define the same record settings for multiple tracks. Monitor the strength of the signals and record as before. If any output monitoring FX are in use. To set all tracks to auto arm. Input 1 is to go to Track 1. Count-in before recording: This will enable a count-in before recording.
The Metronome Settings Enable metronome: This turns the built-in metronome on or off. This command can be toggled on and off. Useful if you are recording yourself.
Run during playback: This will turn the metronome on during playback. Run during recording: This will turn the metronome on during recording. Inputs can be assigned to a selection of tracks in a similar way by clicking on the Input button. Holding Shift will over-ride this and apply your menu choices to the one track only. To insert a new track at the end of your project.
Immediately to the right of the Enable Metronome option. To assign a series of mono inputs in sequence to a set of tracks. Input 2 to Track 2 and so on. Count-in before playback: This will enable a count-in before playback.
The example shown uses audio inputs. Use the Options. Select the track s then right click over the record arm button for any track in the selection and choose Automatic record arm when track selected. Input 1 to Input 4. Click in the appropriate cells in the Routing Matrix to assign each track an input. This gives you time to get back to the microphone and pick up your instrument. If it is the very beginning of a project. After the recording is finished. To use your samples for the metronome in all your project you need to set them up.
You can. You can specify in Hz the Frequency of first beat and of Subsequent beats. The Pre-roll settings can be used so that when you start recording. Beat click length xx ms: This is how long each beat click lasts. First beat sample: This is the sample for the first beat — e.
Follow a similar procedure to that explained in section 3.
This will reduce your available stereo paired inputs to a more logical selection such as that shown above. Count-in length Measures: This defines the number of measures a count in should be. The amount by which the volume of secondary beats will be adjusted. Enable metronome and the metronome settings options Run metronome during recording and Pre-roll before recording.
Secondary beat gain:. As has already explained in Chapter 2. You can also use Samples for your own metronome sounds. Press Alt Enter and display the Project Settings page if you need to change this. The signal from paired stereo inputs can be recorded on to a single stereo item on a single track.
If you define a track as multichannel for example. Primary beat volume: This determines how loud is the metronome volume.. If you select a place to record within a project. For multichannel tracks. Subsequent beat: This is the sample for other beats. Beat pattern: You can accept the default AABB or define your own.
This method is suited. Recording during audio pre-roll: Start shape: This can be hard louder or soft quieter. Insert Track from Template. This can be done using Track Templates. Here you can create subdirectories within the TrackTemplates folder where you to store and arrange your track templates as you please.
Organizing track templates. You can find where your track templates are stored by using the Options. Insert track from template command.
The tracks from the imported project file are inserted immediately below the currently selected tracks. Project Settings including Media Settings are saved with a project template. Save tracks as track template command. To import an existing track template into a project: Save As Project Template command. You may also choose to Include envelopes in template.
Select the track or tracks. If so. Envelopes will be explained in Chapter All tracks in the original project file are imported — media items. Depending on how your templates are stored. Project Templates.
Project Templates command. The Insert track from template sub-menu includes Offset template items by edit cursor. Click on Save. Track properties and settings are saved into the template. Your subdirectories and their contents will automatically be shown on the Insert track from template sub menu. To create a Project Template: To create a track template from an existing track or selection of tracks: Choose the Track.
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