From 15a20269ce188999187756b79c3292b03b8139b1 Mon Sep 17 00:00:00 2001
From: chmaha <reaclassical@gmail.com>
Date: Thu, 20 Feb 2025 16:33:17 +0000
Subject: [PATCH] Add auto-panning based on name info

---
 PDF-Manual/ReaClassical-Manual.pdf |  Bin 2720459 -> 2720521 bytes
 PDF-Manual/ReaClassical-Manual.tex | 3899 +++++++++++++---------------
 2 files changed, 1850 insertions(+), 2049 deletions(-)

diff --git a/PDF-Manual/ReaClassical-Manual.pdf b/PDF-Manual/ReaClassical-Manual.pdf
index c9580a2480dc5113fc03a9384ffce3f9feb1550e..6a77658f98a4147a97ff602f8d420069974d2d06 100644
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diff --git a/PDF-Manual/ReaClassical-Manual.tex b/PDF-Manual/ReaClassical-Manual.tex
index 4beb4424..44eac717 100644
--- a/PDF-Manual/ReaClassical-Manual.tex
+++ b/PDF-Manual/ReaClassical-Manual.tex
@@ -1,5 +1,5 @@
-%% LyX 2.4.3 created this file.  For more info, see https://www.lyx.org/.
-%% Do not edit unless you really know what you are doing.
+%% LyX 2.4.3 created this file.  For more info, see https://www.lyx.org/. % Do
+%not edit unless you really know what you are doing.
 \documentclass[10pt,american]{article}
 \usepackage{tgschola}
 \usepackage{tgheros}
@@ -26,12 +26,10 @@
 
 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%% Textclass specific LaTeX commands.
 \newenvironment{lyxlist}[1]
-	{\begin{list}{}
-		{\settowidth{\labelwidth}{#1}
+	{\begin{list}{} {\settowidth{\labelwidth}{#1}
 		 \setlength{\leftmargin}{\labelwidth}
 		 \addtolength{\leftmargin}{\labelsep}
-		 \renewcommand{\makelabel}[1]{##1\hfil}}}
-	{\end{list}}
+		 \renewcommand{\makelabel}[1]{##1\hfil}}} {\end{list}}
 
 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%% User specified LaTeX commands.
 \usepackage{datetime2}
@@ -53,31 +51,29 @@
 \date{Updated \today}
 \maketitle
 \begin{center}
-This manual is released under the GNU Free Documentation License v1.3
-\\
-See \href{https://www.gnu.org/licenses/fdl-1.3-standalone.html}{https://www.gnu.org/licenses/fdl-1.3-standalone.html}
+This manual is released under the GNU Free Documentation License v1.3 \\
+See
+\href{https://www.gnu.org/licenses/fdl-1.3-standalone.html}{https://www.gnu.org/licenses/fdl-1.3-standalone.html}
 \par\end{center}
 
 \begin{center}
-Copyright \copyright\ 2022--2025 chmaha
-\par\end{center}
+Copyright \copyright\ 2022--2025 chmaha \par\end{center}
 
 \begin{center}
 Cover art (adapted):\emph{}\\
 \emph{Composition with Red, Yellow, and Blue} (1927) by Piet Mondrian\\
-Downloaded from \href{https://artvee.com/dl/composition-with-red-yellow-and-blue\#00}{Artvee}
+Downloaded from
+\href{https://artvee.com/dl/composition-with-red-yellow-and-blue\#00}{Artvee}
 \par\end{center}
 
 \begin{center}
-Typeset in \LaTeX using \TeX{} Gyre Schola font
-\par\end{center}
+Typeset in \LaTeX using \TeX{} Gyre Schola font \par\end{center}
 
 \vspace*{\fill}
 \begin{center}
 \begin{minipage}[c]{0.2\columnwidth}%
 \begin{flushright}
-\emph{As featured in}\thickspace{}\thickspace{} 
-\par\end{flushright}%
+\emph{As featured in}\thickspace{}\thickspace{} \par\end{flushright}%
 \end{minipage}%
 \begin{minipage}[c]{0.5\columnwidth}%
 \href{https://www.soundonsound.com/techniques/source-destination-editing-reaclassical}{\includegraphics[width=6cm]{user_guide_images/sos.jpg}}%
@@ -92,17 +88,17 @@
 
 \hyphenpenalty=10000
 
-\emph{I sincerely appreciate your interest in ReaClassical. This project
-is a labor of passion, driven by the desire to provide a robust and
-flexible tool for musicians, composers, and sound engineers in the
-classical music world. Your support, feedback, and contributions are
-vital to making ReaClassical better with every update.}
+\emph{I sincerely appreciate your interest in ReaClassical. This project is a
+labor of passion, driven by the desire to provide a robust and flexible tool for
+musicians, composers, and sound engineers in the classical music world. Your
+support, feedback, and contributions are vital to making ReaClassical better
+with every update.}
 
-\emph{Thank you for being a part of this journey. Whether you're
-just starting with ReaClassical or have been using it from the beginning,
-your trust in this tool inspires me to continue improving and innovating.
-I hope ReaClassical enhances your classical music production workflow
-and empowers your creative vision.}
+\emph{Thank you for being a part of this journey. Whether you're just starting
+with ReaClassical or have been using it from the beginning, your trust in this
+tool inspires me to continue improving and innovating. I hope ReaClassical
+enhances your classical music production workflow and empowers your creative
+vision.}
 
 \hyphenpenalty=50
 \begin{flushright}
@@ -119,157 +115,155 @@ \part{Preliminaries }
 
 \section{Introduction}
 
-\noindent It is important to note that if you already own REAPER then
-the world of classical editing including source-destination editing
-(aka 2-, 3-, and-4-point editing), crossfade editing and more are
-available at no extra cost to you via the freely available ReaClassical
-system. There's no need to spend any of your hard-earned
-money on Sequoia, Pyramix or SaDiE in order to make editing precise
-and efficient. As a classical engineer myself, I can say with certainty
-that what I am about to share with you covers all my recording, editing
-and mastering needs. Indeed, I couldn't return to the old way of working
-at this point. Your mileage may vary and I'd love to
-hear from you if there are functions that you feel might be missing. 
+\noindent It is important to note that if you already own REAPER then the world
+of classical editing including source-destination editing (aka 2-, 3-,
+and-4-point editing), crossfade editing and more are available at no extra cost
+to you via the freely available ReaClassical system. There's no need to spend
+any of your hard-earned money on Sequoia, Pyramix or SaDiE in order to make
+editing precise and efficient. As a classical engineer myself, I can say with
+certainty that what I am about to share with you covers all my recording,
+editing and mastering needs. Indeed, I couldn't return to the old way of working
+at this point. Your mileage may vary and I'd love to hear from you if there are
+functions that you feel might be missing. 
 
 \section{Compatibility}
 
 ReaClassical runs on any system that is compatible with REAPER (nine
-architectures!). This includes 64-bit and 32-bit versions of Windows,
-MacOS and Linux (including Raspberry Pi).
+architectures!). This includes 64-bit and 32-bit versions of Windows, MacOS and
+Linux (including Raspberry Pi).
 
 \section{Quick Start Guide}
 
-For first-time users, the \href{https://reaclassical.org/quick_start_guide.html}{quick start guide}
-website is a great place to learn the basics about ReaClassical. Each
-section covers major workflow areas and contains simple step-by-step
-instructions with an accompanying short YouTube video for demonstration
-(no audio).
+For first-time users, the
+\href{https://reaclassical.org/quick_start_guide.html}{quick start guide}
+website is a great place to learn the basics about ReaClassical. Each section
+covers major workflow areas and contains simple step-by-step instructions with
+an accompanying short YouTube video for demonstration (no audio).
 
 \section{This Manual}
 
-This PDF manual serves as the official manual for ReaClassical. The
-latest version is always available directly online or offline from
-within ReaClassical by pressing \keys{H} (for `help'). The benefit
-of the offline version is that it is always in sync with the version
-of the tools you are using. The structure of the manual is designed
-to take the user through preliminary remarks, install and update procedures
-for both ReaClassical and REAPER then a detailed look at workflows
-from creating a project through to final render. After some brief
-closing remarks, there follows the appendices (descriptions of all
-the ReaClassical functions, keyboard shortcut guide, recommended free
-mastering-grade plugins, system tweaks for all three major OSes, and,
-finally, a manual install guide mainly for academic purposes).
-
-I highly recommend doing a complete read of the manual and becoming
-very familiar with appendices A and B.
+This PDF manual serves as the official manual for ReaClassical. The latest
+version is always available directly online or offline from within ReaClassical
+by pressing \keys{H} (for `help'). The benefit of the offline version is that it
+is always in sync with the version of the tools you are using. The structure of
+the manual is designed to take the user through preliminary remarks, install and
+update procedures for both ReaClassical and REAPER then a detailed look at
+workflows from creating a project through to final render. After some brief
+closing remarks, there follows the appendices (descriptions of all the
+ReaClassical functions, keyboard shortcut guide, recommended free
+mastering-grade plugins, system tweaks for all three major OSes, and, finally, a
+manual install guide mainly for academic purposes).
+
+I highly recommend doing a complete read of the manual and becoming very
+familiar with appendices A and B.
 
 \section{Website}
 
-The website \href{https://reaclassical.org}{reaclassical.org} serves
-as the entry point for new users. From here you can read about key
-features, donate to the cause, read this PDF manual, installation
-instructions, navigate to the ReaClassical community thread and more.
+The website \href{https://reaclassical.org}{reaclassical.org} serves as the
+entry point for new users. From here you can read about key features, donate to
+the cause, read this PDF manual, installation instructions, navigate to the
+ReaClassical community thread and more.
 
 \section{REAPER Community}
 
 The \href{https://forum.cockos.com/showthread.php?t=265145}{community thread}
-plays an important role in the development of ReaClassical. Not only
-is it a place for users to suggest feature requests and point out
-bugs but also discuss more general classical music recording, mixing
-and mastering techniques. It also serves as something of a development
-blog as I not only announce the regular releases but also document
-the under-the-surface details for those that are interested.
-
-Relatively new is the \href{https://discord.gg/Gu2m9ccHGS}{ReaClassical Discord server}.
-This is a great place for live support, general chat, proposing feature
-requests, workflow discussion, and letting the community know about
-albums or individual pieces you have created with the help of ReaClassical.
+plays an important role in the development of ReaClassical. Not only is it a
+place for users to suggest feature requests and point out bugs but also discuss
+more general classical music recording, mixing and mastering techniques. It also
+serves as something of a development blog as I not only announce the regular
+releases but also document the under-the-surface details for those that are
+interested.
+
+Relatively new is the \href{https://discord.gg/Gu2m9ccHGS}{ReaClassical Discord
+server}. This is a great place for live support, general chat, proposing feature
+requests, workflow discussion, and letting the community know about albums or
+individual pieces you have created with the help of ReaClassical.
 
 \section{Ways to Contribute}
 
-The most important way users can contribute to the development of
-ReaClassical is to actually use the tools! It makes me happy to know
-that engineers can make whole professional-sounding and technically
-accurate masters from ReaClassical. Another is to suggest features
-or let me know about bugs. You can either do this on the \href{https://forum.cockos.com/showthread.php?t=265145}{thread}
-or via the \href{https://github.com/chmaha/ReaClassical/issues}{Issues}
-page on the ReaClassical GitHub. Finally, I'd be glad of any monetary
-donations. You can use \href{https://www.paypal.com/donate/?hosted_button_id=PKJLC3E2UPW6C}{PayPal},
-\href{https://liberapay.com/reaclassical/}{Liberapay} or \href{https://donate.stripe.com/00g5mydzCftQdpeaEE}{Stripe}
-to do so. 
+The most important way users can contribute to the development of ReaClassical
+is to actually use the tools! It makes me happy to know that engineers can make
+whole professional-sounding and technically accurate masters from ReaClassical.
+Another is to suggest features or let me know about bugs. You can either do this
+on the \href{https://forum.cockos.com/showthread.php?t=265145}{thread} or via
+the \href{https://github.com/chmaha/ReaClassical/issues}{Issues} page on the
+ReaClassical GitHub. Finally, I'd be glad of any monetary donations. You can use
+\href{https://www.paypal.com/donate/?hosted_button_id=PKJLC3E2UPW6C}{PayPal},
+\href{https://liberapay.com/reaclassical/}{Liberapay} or
+\href{https://donate.stripe.com/00g5mydzCftQdpeaEE}{Stripe} to do so. 
 
 \section{Spread the Word!}
 
 If you've enjoyed using ReaClassical in your projects, I'd be incredibly
-grateful if you could mention it in your album booklets, social media
-video descriptions, or anywhere you typically include session details.
-A simple acknowledgment alongside your usual credits helps spread
-the word and supports the continued development of the tool.
+grateful if you could mention it in your album booklets, social media video
+descriptions, or anywhere you typically include session details. A simple
+acknowledgment alongside your usual credits helps spread the word and supports
+the continued development of the tool.
 
 \section{Buy ReaClassical Merch}
 
-Get print-on-demand ReaClassical merch like shirts, mugs, totes, pins,
-stickers and more through my \href{https://www.teepublic.com/user/reaclassical}{TeePublic store}!
+Get print-on-demand ReaClassical merch like shirts, mugs, totes, pins, stickers
+and more through my \href{https://www.teepublic.com/user/reaclassical}{TeePublic
+store}!
 
 \section{Source Code}
 
-The source code for ReaClassical, the mastering grade `RC' plugins,
-this manual and the website can all be found \href{https://github.com/chmaha/ReaClassical}{here}.
-ReaClassical is \href{https://www.gnu.org/licenses/gpl-3.0.html}{GPL-3.0}
-licensed.
+The source code for ReaClassical, the mastering grade `RC' plugins, this manual
+and the website can all be found
+\href{https://github.com/chmaha/ReaClassical}{here}. ReaClassical is
+\href{https://www.gnu.org/licenses/gpl-3.0.html}{GPL-3.0} licensed.
 
 \section{Development Style}
 
-Due to working on GitHub and releasing the functions via ReaPack,
-I have the ability to push bugfixes and new features very quickly
-into an existing ReaClassical install. Often bugfixes happen within
-minutes or hours of receiving the report. When I dream up new features,
-the development often happens in rapid fashion over the course of
-a few days. However, now that ReaClassical has what I consider a mature
-feature set, I foresee maintenance and occasional bugfixes becoming
-more central to the process. This will give me more opportunity to
-work on this documentation, a complete video tutorial series etc.
-Part of development is also ensuring that ReaClassical continues to
-operate as expected with the latest REAPER versions. That's not to
-say there won't be new features appearing! As the REAPER developers
-add more new features, I will always check to see what might be useful
-for ReaClassical. 
+Due to working on GitHub and releasing the functions via ReaPack, I have the
+ability to push bugfixes and new features very quickly into an existing
+ReaClassical install. Often bugfixes happen within minutes or hours of receiving
+the report. When I dream up new features, the development often happens in rapid
+fashion over the course of a few days. However, now that ReaClassical has what I
+consider a mature feature set, I foresee maintenance and occasional bugfixes
+becoming more central to the process. This will give me more opportunity to work
+on this documentation, a complete video tutorial series etc. Part of development
+is also ensuring that ReaClassical continues to operate as expected with the
+latest REAPER versions. That's not to say there won't be new features appearing!
+As the REAPER developers add more new features, I will always check to see what
+might be useful for ReaClassical. 
 
 \section{Versioning Style}
 
 ReaClassical currently uses YY.M.MICRO versioning (where M is a non-padded
-month) to accurately reflect how current the software is. For example,
-25.6.2 would indicate a June 2025 release with 2 patches or bugfixes. 
+month) to accurately reflect how current the software is. For example, 25.6.2
+would indicate a June 2025 release with 2 patches or bugfixes. 
 
 \section{Tools and Languages}
 
-ReaClassical works on top of \href{https://www.reaper.fm/}{REAPER},
-the digital audio workstation and utilizes \href{https://reapack.com/}{ReaPack}
-and \href{https://www.sws-extension.org/index.php}{SWS Extensions}.
-ReaClassical functions are coded using \href{https://www.lua.org/}{Lua}.
-The installers for MacOS and Linux are shell scripts. The Windows
-installers are coded in \href{https://go.dev/}{Go}. The ReaClassical
-and Quick Start Guide websites use \href{http://getskeleton.com/}{Skeleton}.
-All coding is done either in REAPER's ReaScript Development Environment,
-\href{https://code.visualstudio.com/}{vscode} or \href{https://gedit-technology.github.io/apps/gedit/}{gedit}
-on Linux. The manual is written in \LaTeX{} (\href{https://www.lyx.org/}{lyx.org})
-with the covers designed in \href{https://www.libreoffice.org/}{LibreOffice}
-Draw. The ReaClassical splash screen and banner are created in \href{https://www.gimp.org/}{GIMP}.
+ReaClassical works on top of \href{https://www.reaper.fm/}{REAPER}, the digital
+audio workstation and utilizes \href{https://reapack.com/}{ReaPack} and
+\href{https://www.sws-extension.org/index.php}{SWS Extensions}. ReaClassical
+functions are coded using \href{https://www.lua.org/}{Lua}. The installers for
+MacOS and Linux are shell scripts. The Windows installers are coded in
+\href{https://go.dev/}{Go}. The ReaClassical and Quick Start Guide websites use
+\href{http://getskeleton.com/}{Skeleton}. All coding is done either in REAPER's
+ReaScript Development Environment, \href{https://code.visualstudio.com/}{vscode}
+or \href{https://gedit-technology.github.io/apps/gedit/}{gedit} on Linux. The
+manual is written in \LaTeX{} (\href{https://www.lyx.org/}{lyx.org}) with the
+covers designed in \href{https://www.libreoffice.org/}{LibreOffice} Draw. The
+ReaClassical splash screen and banner are created in
+\href{https://www.gimp.org/}{GIMP}.
 
 \section{Keyboard Shortcuts}
 
-When providing keyboard shortcuts, this manual assumes Windows or
-Linux as the operating system when modifier keys are used. MacOS users
-should use the typical standard substitutions. If in doubt, open up
-the actions menu via keyboard shortcut \keys{?} or by navigating
-to \menu{Actions > Show action list...} to see the current assignments.
-For reference (from REAPER's own user guide), here is a table of equivalent
-modifier keys:
+When providing keyboard shortcuts, this manual assumes Windows or Linux as the
+operating system when modifier keys are used. MacOS users should use the typical
+standard substitutions. If in doubt, open up the actions menu via keyboard
+shortcut \keys{?} or by navigating to \menu{Actions > Show action list...} to
+see the current assignments. For reference (from REAPER's own user guide), here
+is a table of equivalent modifier keys:
 \begin{center}
 \begin{tabular}{cc}
 \toprule 
 \addlinespace
-\textsc{PC (Windows or Linux) Key} & \textsc{Mac (MacOS) Key Equivalent}\tabularnewline\addlinespace
+\textsc{PC (Windows or Linux) Key} & \textsc{Mac (MacOS) Key
+Equivalent}\tabularnewline\addlinespace
 \midrule
 \addlinespace
 \midrule 
@@ -286,12 +280,14 @@ \section{Keyboard Shortcuts}
 
 \section{Changelog}
 
-The changelog for ReaClassical functions can be found by double-clicking
-on the ReaClassical package in ReaPack and navigating to the `History'
-tab. Whenever you sync ReaPack via \menu{Extensions > ReaPack > Synchronize packages}
-or the ReaClassical\_Updater function, this information should also
-appear automatically. For all updates including those not related
-to the functions themselves, a changelog can be found in the \href{https://github.com/chmaha/ReaClassical/raw/main/release_notes.pdf}{release notes}.
+The changelog for ReaClassical functions can be found by double-clicking on the
+ReaClassical package in ReaPack and navigating to the `History' tab. Whenever
+you sync ReaPack via \menu{Extensions > ReaPack > Synchronize packages} or the
+ReaClassical\_Updater function, this information should also appear
+automatically. For all updates including those not related to the functions
+themselves, a changelog can be found in the
+\href{https://github.com/chmaha/ReaClassical/raw/main/release_notes.pdf}{release
+notes}.
 
 \pagebreak{}
 
@@ -301,65 +297,65 @@ \section{Install}
 
 \subsection{Easy Complete Portable Installation (recommended)}
 \begin{enumerate}
-\item Follow the installation instructions \href{https://github.com/chmaha/ReaClassical/blob/main/install_instructions.md}{here}
-or in the `Installation \& Update' section of the \href{https://reaclassical.org/quick_start_guide.html}{Quick Start Guide}.
+\item Follow the installation instructions
+\href{https://github.com/chmaha/ReaClassical/blob/main/install_instructions.md}{here}
+or in the `Installation \& Update' section of the
+\href{https://reaclassical.org/quick_start_guide.html}{Quick Start Guide}.
 Simply run where you would like the ReaClassical folder to be created. 
 \item Start REAPER/ReaClassical.
-\item Follow the update instructions \vpageref{subsec:Updating} to get
-the latest and greatest versions of the ReaClassical functions, toolbar
-and keymap.
+\item Follow the update instructions \vpageref{subsec:Updating} to get the
+latest and greatest versions of the ReaClassical functions, toolbar and keymap.
 \end{enumerate}
-Note that if the ReaClassical folder already exists, the installer
-will automatically add a unique suffix to ensure nothing is overwritten.
+Note that if the ReaClassical folder already exists, the installer will
+automatically add a unique suffix to ensure nothing is overwritten.
 
 \subsection{Just The Scripts and Plugins?}
 
-Install both \href{https://reapack.com/}{ReaPack} and latest \href{https://www.sws-extension.org/download/pre-release/}{bleeding edge SWS Extensions}
-if you haven't already. 
+Install both \href{https://reapack.com/}{ReaPack} and latest
+\href{https://www.sws-extension.org/download/pre-release/}{bleeding edge SWS
+Extensions} if you haven't already. 
 
-Import my \href{https://github.com/chmaha/ReaClassical/raw/main/index.xml}{index.xml}
-into ReaPack (see the \href{https://reapack.com/user-guide\#import-repositories}{ReaPack user guide}
+Import my
+\href{https://github.com/chmaha/ReaClassical/raw/main/index.xml}{index.xml} into
+ReaPack (see the
+\href{https://reapack.com/user-guide\#import-repositories}{ReaPack user guide}
 if you are unsure how) and search for `ReaClassical' for the ReaClassical
-metapackage and `RCPlugs' for the classical jsfx plugins. Note that
-out of the box this does \emph{not} give you the full benefits of
-ReaClassical which include keyboard shortcuts, custom toolbar etc
-but does include ReaClassical themes and a project template which
-you should use when doing classical editing. It's an easy way to start
-if you are already familiar with ReaPack and SWS and want to check
-out source-destination editing etc. Note that you \emph{do} need SWS
-installed for the functions to work as expected. You can follow the
-update instructions \vpageref{subsec:Updating} to grab the custom
-toolbar and keymap but please heed the warning about using the ReaClassical\_Updater
-function as answering 'yes' to either of the questions will overwrite
-configuration files.
+metapackage and `RCPlugs' for the classical jsfx plugins. Note that out of the
+box this does \emph{not} give you the full benefits of ReaClassical which
+include keyboard shortcuts, custom toolbar etc but does include ReaClassical
+themes and a project template which you should use when doing classical editing.
+It's an easy way to start if you are already familiar with ReaPack and SWS and
+want to check out source-destination editing etc. Note that you \emph{do} need
+SWS installed for the functions to work as expected. You can follow the update
+instructions \vpageref{subsec:Updating} to grab the custom toolbar and keymap
+but please heed the warning about using the ReaClassical\_Updater function as
+answering 'yes' to either of the questions will overwrite configuration files.
 
 \subsection{Manual Installation \& Tweaks}
 
-\noindent For a manual installation (ideally for educational value
-only or if you already have a heavily-customized REAPER setup and
-wish to add all or just parts of ReaClassical) see Appendix E.
+\noindent For a manual installation (ideally for educational value only or if
+you already have a heavily-customized REAPER setup and wish to add all or just
+parts of ReaClassical) see Appendix E.
 
 \section{Update}
 
 \subsection{\label{subsec:Updating}Updating an Existing ReaClassical Portable
 Install}
 
-To update just the functions, use \menu{Extensions > ReaPack > Synchronize packages}.
-To update the functions and also update/reset the custom toolbar and
-keymaps to be in line with a standard ReaClassical portable install,
-run the handy ReaClassical\_Updater function via \keys{\shift+U}
-. This will sync ReaPack to get the latest ReaClassical functions
-then offer to overwrite your toolbars and keymaps with ReaClassical
-portable install defaults. \textbf{DON'T do this if you have your
-own custom toolbars or keyboard shortcuts as they will be overwritten!
-}However, as of 24.8.7 any files will first be backed up (e.g. \emph{reaper-kb.ini.backup}).
-Obviously if you run the updater twice before recovering them you
-will lose your original files.
+To update just the functions, use \menu{Extensions > ReaPack > Synchronize
+packages}. To update the functions and also update/reset the custom toolbar and
+keymaps to be in line with a standard ReaClassical portable install, run the
+handy ReaClassical\_Updater function via \keys{\shift+U} . This will sync
+ReaPack to get the latest ReaClassical functions then offer to overwrite your
+toolbars and keymaps with ReaClassical portable install defaults. \textbf{DON'T
+do this if you have your own custom toolbars or keyboard shortcuts as they will
+be overwritten! }However, as of 24.8.7 any files will first be backed up (e.g.
+\emph{reaper-kb.ini.backup}). Obviously if you run the updater twice before
+recovering them you will lose your original files.
 
 \subsection{Updating REAPER}
 
-Simply use the shortcut \keys{\ctrl+U} to open the REAPER update
-utility.
+Simply use the shortcut \keys{\ctrl+U} to open the REAPER update utility.
 
 \begin{figure}
 \begin{centering}
@@ -369,11 +365,11 @@ \subsection{Updating REAPER}
 
 \end{figure}
 
-Either click on the main or pre-release version you are interested
-in or click on one of the clock icons to select from previous releases.
-Despite the REAPER developers having a track record of excellent compatibility
-across even major versions, I recommend sticking with the tested version
-of REAPER noted \href{https://raw.githubusercontent.com/chmaha/ReaClassical/main/tested_reaper_ver.txt}{here}
+Either click on the main or pre-release version you are interested in or click
+on one of the clock icons to select from previous releases. Despite the REAPER
+developers having a track record of excellent compatibility across even major
+versions, I recommend sticking with the tested version of REAPER noted
+\href{https://raw.githubusercontent.com/chmaha/ReaClassical/main/tested_reaper_ver.txt}{here}
 to minimize any issues of compatibility.
 
 \pagebreak{}
@@ -382,30 +378,29 @@ \part{ReaClassical Workflows}
 
 \section{Creating \& Setting Up a Project}
 
-When you start REAPER/ReaClassical from a default portable install,
-you'll see an empty project with ReaClassical project defaults. The
-first thing you should do is save it via \keys{\ctrl+S}.
+When you start REAPER/ReaClassical from a default portable install, you'll see
+an empty project with ReaClassical project defaults. The first thing you should
+do is save it via \keys{\ctrl+S}.
 
 \subsection{Theme}
 
-The ReaClassical theme is loaded by default. It looks almost exactly
-like the default REAPER theme. If you'd like to switch to one of several
-other custom themes, you can do so via \menu{Options > Themes}. `ReaClassical
-Light' is similar to the default but uses lighter waveforms and peak
-edging. The two `WaveColors' themes apply coloring only to the waveforms
-with option for dark or light item backgrounds.
+The ReaClassical theme is loaded by default. It looks almost exactly like the
+default REAPER theme. If you'd like to switch to one of several other custom
+themes, you can do so via \menu{Options > Themes}. `ReaClassical Light' is
+similar to the default but uses lighter waveforms and peak edging. The two
+`WaveColors' themes apply coloring only to the waveforms with option for dark or
+light item backgrounds.
 
 \subsection{Project Settings}
 
-You can open the project settings by pressing \keys{P} (for `Project
-Settings') You shouldn't need to change any settings here. By default,
-render resampling is set to the highest quality using r8brain free.
-Media is saved to a `media' subfolder. The default recording format
-is 24-bit wave files but you can set to 32-bit float if using a portable
-recorder with that capability. Video frame rate is set to 75 to align
-with the number of frames per second for an audio CD. You can, of
-course, fill in the `notes' section with a title, author and notes
-as desired.
+You can open the project settings by pressing \keys{P} (for `Project Settings')
+You shouldn't need to change any settings here. By default, render resampling is
+set to the highest quality using r8brain free. Media is saved to a `media'
+subfolder. The default recording format is 24-bit wave files but you can set to
+32-bit float if using a portable recorder with that capability. Video frame rate
+is set to 75 to align with the number of frames per second for an audio CD. You
+can, of course, fill in the `notes' section with a title, author and notes as
+desired.
 
 \begin{figure}
 \begin{centering}
@@ -418,54 +413,50 @@ \subsection{Project Settings}
 
 \subsection{Audio Settings}
 
-Click on the audio information in the top right of the window or via
-\keys{O} (for `options') navigating to \menu{Audio > Device}.
-These settings are operating system dependent. Choice of blocksize
-etc is also dependent on need and how modern and/or optimized your
-system is. For general microphone setup, device and recording settings
-specifically for classical music etc I recommend referring to one
-or more of the following: 
+Click on the audio information in the top right of the window or via \keys{O}
+(for `options') navigating to \menu{Audio > Device}. These settings are
+operating system dependent. Choice of blocksize etc is also dependent on need
+and how modern and/or optimized your system is. For general microphone setup,
+device and recording settings specifically for classical music etc I recommend
+referring to one or more of the following: 
 \begin{itemize}
-\item \emph{Classical Recording: A Practical Guide in the Decca Tradition}\textsc{
-}by Haigh, Dunkerley \& Rogers
-\item \emph{Recording Orchestra and Other Classical Music Ensembles} by
-Richard King
+\item \emph{Classical Recording: A Practical Guide in the Decca
+Tradition}\textsc{ }by Haigh, Dunkerley \& Rogers
+\item \emph{Recording Orchestra and Other Classical Music Ensembles} by Richard
+King
 \item \emph{Recording Classical Music} by Robert Toft
-\item For a more detailed look at mastering (for any genre of music), I
-highly recommend \emph{Mastering Audio: The Art and the Science} by
-Bob Katz. 
+\item For a more detailed look at mastering (for any genre of music), I highly
+recommend \emph{Mastering Audio: The Art and the Science} by Bob Katz. 
 \end{itemize}
 
 \subsection{ReaClassical Preferences}
 
-Pressing \keys{F5} brings up the ReaClassical Preferences dialog.
-The first line sets the crossfade length in milliseconds for all source-destination
-editing. The next three lines are for \href{https://en.wikipedia.org/wiki/Disc_Description_Protocol}{DDP}
-creation. The defaults are for a 200ms track offset (to account for
-older CD players that couldn't play audio immediately after a track
-search), the INDEX0 length in seconds for when to start a CD player
-`countdown' display to the next track (a fun visual trick that is,
-of course, completely irrelevant for purely digital releases) and,
-finally, the album lead-out time in seconds (essentially the time
-on a car CD player before the disc returns to the beginning again).
-There is a setting for the Prepare Takes function to either use the
-old random coloring method or the newer color scheme that uses blues
-for destination material and greens for source material. The user
-can change the checking range (distance beyond an item edge/fade or
-crossfade) when placing destination IN and OUT markers. Setting to
-0 would just check if the marker would be placed \emph{inside} a item
-fade or crossfade. If the reference track is set as overdub guide,
-it will be audible during classical take recording and auditioning
-which is extremely useful for overdub recording of material after
-the main session such as a symphonic organ part or narration. Next,
-you can set \keys{1},\keys{2},\keys{3}, and \keys{4} to add markers
-at the mouse hover position vs edit cursor. In this mode, you can
-also enter the fade editor by hovering of the right-hand items of
-a crossfaded pair and pressing \keys{F}. Finally, you can set the
-custom playback rate when auditioning via \keys{\shift+A}. There
-will be more on these settings in subsequent sections of the manual.
-If you are unfamiliar with these concepts, I recommend a quick internet
-search! If in doubt, just use the default values. It is worth noting
+Pressing \keys{F5} brings up the ReaClassical Preferences dialog. The first line
+sets the crossfade length in milliseconds for all source-destination editing.
+The next three lines are for
+\href{https://en.wikipedia.org/wiki/Disc_Description_Protocol}{DDP} creation.
+The defaults are for a 200ms track offset (to account for older CD players that
+couldn't play audio immediately after a track search), the INDEX0 length in
+seconds for when to start a CD player `countdown' display to the next track (a
+fun visual trick that is, of course, completely irrelevant for purely digital
+releases) and, finally, the album lead-out time in seconds (essentially the time
+on a car CD player before the disc returns to the beginning again). There is a
+setting for the Prepare Takes function to either use the old random coloring
+method or the newer color scheme that uses blues for destination material and
+greens for source material. The user can change the checking range (distance
+beyond an item edge/fade or crossfade) when placing destination IN and OUT
+markers. Setting to 0 would just check if the marker would be placed
+\emph{inside} a item fade or crossfade. If the reference track is set as overdub
+guide, it will be audible during classical take recording and auditioning which
+is extremely useful for overdub recording of material after the main session
+such as a symphonic organ part or narration. Next, you can set
+\keys{1},\keys{2},\keys{3}, and \keys{4} to add markers at the mouse hover
+position vs edit cursor. In this mode, you can also enter the fade editor by
+hovering of the right-hand items of a crossfaded pair and pressing \keys{F}.
+Finally, you can set the custom playback rate when auditioning via
+\keys{\shift+A}. There will be more on these settings in subsequent sections of
+the manual. If you are unfamiliar with these concepts, I recommend a quick
+internet search! If in doubt, just use the default values. It is worth noting
 that these preferences are set per project.
 
 \begin{figure}
@@ -478,19 +469,17 @@ \subsection{ReaClassical Preferences}
 
 \subsection{Choice of Workflow}
 
-The choice between what I refer to as `vertical' or `horizontal'
-workflows will depend somewhat on the complexity of the project. For
-a quick editing session of, say, a choral piece or short self-standing
-orchestral piece, a horizontal approach will suffice. For a well-drilled
-ensemble recording session, I can recommend using the vertical approach.
-Many classical engineers enjoy using a horizontal approach for recording
-(potentially the least disruptive and making use of the Take Counter
-window \keys{Ctrl + \return}) and then either sticking with that
-for editing (also taking advantage of the extremely useful Find Take
-\keys{\return} and Jump to Time \keys{\tab} functions) or, depending
-on the number of takes, converting to a vertical workflow. Frankly,
-there are benefits to both routes, and in the end, it simply comes
-down to personal preference.
+The choice between what I refer to as `vertical' or `horizontal' workflows will
+depend somewhat on the complexity of the project. For a quick editing session
+of, say, a choral piece or short self-standing orchestral piece, a horizontal
+approach will suffice. For a well-drilled ensemble recording session, I can
+recommend using the vertical approach. Many classical engineers enjoy using a
+horizontal approach for recording (potentially the least disruptive and making
+use of the Take Counter window \keys{Ctrl + \return}) and then either sticking
+with that for editing (also taking advantage of the extremely useful Find Take
+\keys{\return} and Jump to Time \keys{\tab} functions) or, depending on the
+number of takes, converting to a vertical workflow. Frankly, there are benefits
+to both routes, and in the end, it simply comes down to personal preference.
 
 \begin{figure}
 \begin{centering}
@@ -511,141 +500,134 @@ \subsection{Choice of Workflow}
 
 \subsubsection{Vertical Workflow}
 
-In this approach, the source and destination track groups are aligned
-vertically so that the user doesn't have to shuttle back and forth
-in the arrange window for placing source-destination markers. 
-
-\textbf{When Recording material:} To begin with a vertical workflow,
-you could actually use a horizontal workflow approach \keys{F7} to
-set up just a single group and record left to right. After recording
-is complete, and you are ready for editing, you could convert to a
-vertical workflow via \keys{F8}. Alternatively, you can press \keys{F8}
-for project creation and start immediately with a vertical setup with
-one `destination' group and six `source' groups. In either setup,
-and whether recording or importing, simply type in the total number
-of stereo and mono microphone inputs you need, enter track names and
-optionally auto set recording inputs based on track names. I highly
+In this approach, the source and destination track groups are aligned vertically
+so that the user doesn't have to shuttle back and forth in the arrange window
+for placing source-destination markers. 
+
+\textbf{When Recording material:} To begin with a vertical workflow, you could
+actually use a horizontal workflow approach \keys{F7} to set up just a single
+group and record left to right. After recording is complete, and you are ready
+for editing, you could convert to a vertical workflow via \keys{F8}.
+Alternatively, you can press \keys{F8} for project creation and start
+immediately with a vertical setup with one `destination' group and six `source'
+groups. In either setup, and whether recording or importing, simply type in the
+total number of stereo and mono microphone inputs you need, enter track names
+and optionally auto set recording inputs based on track names. I highly
 recommend using the first track for the main stereo pair. 
 
-\textbf{When importing material:} To begin with a vertical workflow,
-press \keys{F8} to set up a destination track group and six source
-groups (don't worry, it's easy to add more if you need them!). Simply
-type in the number of stereo and mono microphone inputs you need,
-enter track names and then answer `no' to auto setting recording
-inputs. I highly recommend using the first track for the main stereo
-pair. 
-
-As mentioned above, the \keys{F8} function creates six source groups
-based off the destination track group, and creates a single set of
-mixer tracks that are shared by the groups. Use these to control volume,
-panning, polarity, sends and FX across all takes. The function also
-sets up media item and razor editing grouped by folder. If you need
-more than the six source groups, simply create them on the fly with
-the \keys{\textbackslash} shortcut, but note that using \keys{F9}
-(Classical Take Record) creates a new source group as needed after
+\textbf{When importing material:} To begin with a vertical workflow, press
+\keys{F8} to set up a destination track group and six source groups (don't
+worry, it's easy to add more if you need them!). Simply type in the number of
+stereo and mono microphone inputs you need, enter track names and then answer
+`no' to auto setting recording inputs. I highly recommend using the first track
+for the main stereo pair. 
+
+As mentioned above, the \keys{F8} function creates six source groups based off
+the destination track group, and creates a single set of mixer tracks that are
+shared by the groups. Use these to control volume, panning, polarity, sends and
+FX across all takes. The function also sets up media item and razor editing
+grouped by folder. If you need more than the six source groups, simply create
+them on the fly with the \keys{\textbackslash} shortcut, but note that using
+\keys{F9} (Classical Take Record) creates a new source group as needed after
 each recording.
 
 A typical scenario: You have vertically recorded, or vertically prepared,
-multiple takes of a concerto movement with 10 channels. You realize
-halfway through editing that you want the soloist's
-microphone to be brought up in volume a little and also panned slightly
-more to the right to match the position in the main stereo pair. Simply
-make the change once on the equivalent mixer track!
+multiple takes of a concerto movement with 10 channels. You realize halfway
+through editing that you want the soloist's microphone to be brought up in
+volume a little and also panned slightly more to the right to match the position
+in the main stereo pair. Simply make the change once on the equivalent mixer
+track!
 
 \subsubsection{Horizontal Workflow}
 
-In this approach, there is a single track or single group of tracks
-with the source and destination material laid out from left to right.
-As mentioned above, for shorter pieces of music this is often a perfectly
-acceptable approach. With the introduction of the Find Take, Jump
-to Time and Take Counter functions, many might now prefer this workflow.
-
-To begin a horizontal workflow, press \keys{F7} to set up a track
-group also with mixer tracks (for making changes to volume, pan, polarity,
-sends and FX). Whether recording or importing, simply type in the
-number of tracks or microphone inputs you need, enter the track names
-then optionally auto set recording inputs based on track names. I
-highly recommend using the first track for the main stereo pair. In
-the event you are making a simple stereo recording, just create a
-track group consisting of two tracks and leave the child track empty
-and hidden via pressing \keys{E} on the parent track.
-
-If you wish to convert to a vertical workflow, simply press \keys{F8}
-to create six new source groups. If you accidentally switch to a vertical
-workflow via \keys{F8}, \keys{\textbackslash} (duplicate folder)
-or similar, simply undo via \keys{\ctrl+Z} and press \keys{F7} to
-set the project to a horizontal workflow again.
+In this approach, there is a single track or single group of tracks with the
+source and destination material laid out from left to right. As mentioned above,
+for shorter pieces of music this is often a perfectly acceptable approach. With
+the introduction of the Find Take, Jump to Time and Take Counter functions, many
+might now prefer this workflow.
+
+To begin a horizontal workflow, press \keys{F7} to set up a track group also
+with mixer tracks (for making changes to volume, pan, polarity, sends and FX).
+Whether recording or importing, simply type in the number of tracks or
+microphone inputs you need, enter the track names then optionally auto set
+recording inputs based on track names. I highly recommend using the first track
+for the main stereo pair. In the event you are making a simple stereo recording,
+just create a track group consisting of two tracks and leave the child track
+empty and hidden via pressing \keys{E} on the parent track.
+
+If you wish to convert to a vertical workflow, simply press \keys{F8} to create
+six new source groups. If you accidentally switch to a vertical workflow via
+\keys{F8}, \keys{\textbackslash} (duplicate folder) or similar, simply undo via
+\keys{\ctrl+Z} and press \keys{F7} to set the project to a horizontal workflow
+again.
 
 \subsubsection{Auto Set Recording Inputs / Add Special Tracks}
 
-As part of initial workflow setup, you are asked if you'd like to
-auto set recording inputs based on track names. Essentially, if you'd
-like your track to have a stereo input use words like `pair' or
-`stereo' (in your own language if you wish!) as part of the name.
-Otherwise, it will be treated as a mono input. For example, `ORTF
-Pair', `Violin Spot 2ch', and `Omni Outrigger Stereo' will all
-be treated as needing a stereo input. The function uses the maximum
-available hardware inputs after which it disables recording input.
-You will see a report of assignments with the option to revert to
-previous settings. You can run this as a standalone function at any
-time via \keys{\ctrl+F9}.
-
-Also, as part of the initial workflow setup, you are asked if you'd
-like to add any special tracks (aux, submix, roomtone, reference).
-This is useful if you are setting up an editing/mastering project
-with pre-recorded material.
+As part of initial workflow setup, you are asked if you'd like to auto set
+recording inputs based on track names. Essentially, if you'd like your track to
+have a stereo input use words like `pair' or `stereo' (in your own language if
+you wish!) as part of the name. Otherwise, it will be treated as a mono input.
+For example, `ORTF Pair', `Violin Spot 2ch', and `Omni Outrigger Stereo' will
+all be treated as needing a stereo input. If you add `left',`l', `right` or `r'
+(again, in your own language if you wish!), the channel will be auto-panned
+accordingly. For example, `Decca Tree L' will create a mono signal panned 100\% left
+(note that the `L' has a necessary space preceding it and that it is also the
+final part of the name). The function uses the maximum available hardware inputs
+after which it disables recording input. You will see a report of assignments
+with the option to revert to previous settings. You can run this as a standalone
+function at any time via \keys{\ctrl+F9}.
+
+Also, as part of the initial workflow setup, you are asked if you'd like to add
+any special tracks (aux, submix, roomtone, reference). This is useful if you are
+setting up an editing/mastering project with pre-recorded material.
 
 \subsubsection{Manually Naming Tracks }
 
-If you didn't name tracks as part of the initial workflow setup, you
-only need to add track names to the mixer tracks in the mixer panel
-and then pressing \keys{F7} or \keys{F8} will auto-populate the
-same names to all regular track groups. While re-naming don't worry
-about keeping the `M:' prefix. On sync, it will be restored. ReaClassical
-automatically adds Source and Destination prefixes to your chosen
-track names and are auto-renumbered whenever functions affecting the
-number of source folders are run (Vertical Workflow \keys{F8}, Duplicate
-Folder \keys{\textbackslash}, and Classical Take Record \keys{F9}).
-Tip: Avoid using any colons in your track names and the auto prefixing
-will work as expected. 
+If you didn't name tracks as part of the initial workflow setup, you only need
+to add track names to the mixer tracks in the mixer panel and then pressing
+\keys{F7} or \keys{F8} will auto-populate the same names to all regular track
+groups. While re-naming don't worry about keeping the `M:' prefix. On sync, it
+will be restored. ReaClassical automatically adds Source and Destination
+prefixes to your chosen track names and are auto-renumbered whenever functions
+affecting the number of source folders are run (Vertical Workflow \keys{F8},
+Duplicate Folder \keys{\textbackslash}, and Classical Take Record \keys{F9}).
+Tip: Avoid using any colons in your track names and the auto prefixing will work
+as expected. 
 
 \noindent\fbox{\begin{minipage}[t]{1\columnwidth - 2\fboxsep - 2\fboxrule}%
-As you will discover, based on which workflow chosen, you can use
-\keys{F7} or \keys{F8} at any point during project work to (re)create
-project routing, propagate track-naming based on the mixer tracks,
-sync record inputs and track lock states. Various ReaClassical functions
-use the same synchronization under the hood.%
+As you will discover, based on which workflow chosen, you can use \keys{F7} or
+\keys{F8} at any point during project work to (re)create project routing,
+propagate track-naming based on the mixer tracks, sync record inputs and track
+lock states. Various ReaClassical functions use the same synchronization under
+the hood.%
 \end{minipage}}
 
 \subsubsection{The Single Mixer \& \textquoteleft RCMASTER\textquoteright{} bus}
 
-Whatever your workflow preference, as of 24.10, all audio is routed
-through a special dedicated mixer tracks leading to an RCMASTER bus.
-This allows for independent volume adjustments on the parent track
-which is generally used for the main microphone pair. Converting your
-projects made with an earlier version of ReaClassical is easy. Simply
-run \keys{F7} for horizontal workflows or \keys{F8} for vertical
-workflows. The new mixer tracks and bus will be created and all routing
-taken care of. Any existing track panel settings (including sends
-and FX) from the first group are automatically transferred to the
-mixer tracks.
-
-Any and all track setting changes (track naming, volume, pan, phase,
-FX, sends to @aux tracks, routing to \#submixes etc) happen in the
-mixer tracks. This is identical to the way that Pyramix works with
-a single mixer being fed by all the source groups. The mixer tracks
-are always visible in the mixer panel and identified by track names
-that start with `M:'. Running \keys{F7} or \keys{F8} will synchronize
-the track names from the mixer tracks across the whole project. 
-
-The basic rule is to not delete these special tracks. But, if you
-do by accident, don't worry. Try to undo via \keys{\ctrl+Z}. In in
-the highly unlikely event that doesn't work, simply run \keys{F7}
-or \keys{F8} again and the mixer tracks will be restored (although
-any custom routing and automation will be lost). It is also worth
-noting that aux, submix and roomtone tracks now automatically route
-through RCMASTER on creation and are also automatically updated when
-older projects are `upgraded'.
+Whatever your workflow preference, as of 24.10, all audio is routed through a
+special dedicated mixer tracks leading to an RCMASTER bus. This allows for
+independent volume adjustments on the parent track which is generally used for
+the main microphone pair. Converting your projects made with an earlier version
+of ReaClassical is easy. Simply run \keys{F7} for horizontal workflows or
+\keys{F8} for vertical workflows. The new mixer tracks and bus will be created
+and all routing taken care of. Any existing track panel settings (including
+sends and FX) from the first group are automatically transferred to the mixer
+tracks.
+
+Any and all track setting changes (track naming, volume, pan, phase, FX, sends
+to @aux tracks, routing to \#submixes etc) happen in the mixer tracks. This is
+identical to the way that Pyramix works with a single mixer being fed by all the
+source groups. The mixer tracks are always visible in the mixer panel and
+identified by track names that start with `M:'. Running \keys{F7} or \keys{F8}
+will synchronize the track names from the mixer tracks across the whole project. 
+
+The basic rule is to not delete these special tracks. But, if you do by
+accident, don't worry. Try to undo via \keys{\ctrl+Z}. In in the highly unlikely
+event that doesn't work, simply run \keys{F7} or \keys{F8} again and the mixer
+tracks will be restored (although any custom routing and automation will be
+lost). It is also worth noting that aux, submix and roomtone tracks now
+automatically route through RCMASTER on creation and are also automatically
+updated when older projects are `upgraded'.
 
 \begin{figure}
 \begin{centering}
@@ -662,168 +644,156 @@ \section{Recording}
 
 \subsection{Manually Setting Inputs}
 
-See above for the ReaClassical approach to auto setting recording
-inputs based on track names. There are also multiple ways to manually
-set recording inputs. First, you can left-click on the meter part
-of the track panel. Second, you can press \keys{\Alt+R} to open the
-routing matrix. Once you have set the inputs for the first group,
-and you chose a vertical approach, simply press \keys{F8} to sync
-these settings to all source groups.
+See above for the ReaClassical approach to auto setting recording inputs based
+on track names. There are also multiple ways to manually set recording inputs.
+First, you can left-click on the meter part of the track panel. Second, you can
+press \keys{\Alt+R} to open the routing matrix. Once you have set the inputs for
+the first group, and you chose a vertical approach, simply press \keys{F8} to
+sync these settings to all source groups.
 
 \subsection{Headroom}
 
-Again, I refer you to the books on classical music production but
-in general I suggest aiming for around -12dB peaks on the meters.
-24-bit recording allows for a lot of headroom so there's no need to
-push close to 0dB. Adjust the individual faders to balance. Note that
-in a vertical workflow moving a fader will automatically move the
-corresponding fader in the other groups too making same-volume auditioning
-of different takes extremely easy. When using a 32-bit float device
-with dual AD converters as an interface (such as the Zoom F-series),
-ensure that the recording file format is switched to 32-bit float
-via project preferences \keys{P}. The recorded levels might seem
-too low or too high during recording, but they can be easily adjusted
-afterward in ReaClassical without introducing any extra noise or distortion.
+Again, I refer you to the books on classical music production but in general I
+suggest aiming for around -12dB peaks on the meters. 24-bit recording allows for
+a lot of headroom so there's no need to push close to 0dB. Adjust the individual
+faders to balance. Note that in a vertical workflow moving a fader will
+automatically move the corresponding fader in the other groups too making
+same-volume auditioning of different takes extremely easy. When using a 32-bit
+float device with dual AD converters as an interface (such as the Zoom
+F-series), ensure that the recording file format is switched to 32-bit float via
+project preferences \keys{P}. The recorded levels might seem too low or too high
+during recording, but they can be easily adjusted afterward in ReaClassical
+without introducing any extra noise or distortion.
 
 \subsection{Classical Take Recording}
 
-Select the parent or child track of a track group and then press \keys{F9}
-to begin `classical' take recording mode. If the track group isn't
-already record-armed (probably the case before you start your first
-recording of the session), the function will first simply record-arm
-the whole group so you can usefully monitor incoming signal. On a
-subsequent press of \keys{F9} recording begins. To stop recording,
-press \keys{F9} again. In horizontal workflow, the key press will
-maintain record arming and will begin recording on a subsequent press.
-In vertical workflow, this key press also automatically moves to,
-solos and arms the next available group so that recording can begin
-immediately on the next button press. ReaClassical will automatically
-create new groups as required. To manually add more destination groups
-when not recording, press \keys{\textbackslash}. To pause and unpause
-a recording without starting a new take, toggle the pause button in
-the transport or use the shortcut \keys{\ctrl+\space} (spacebar).
-To quickly increment the take number during recording use \keys{\shift+F9}
-but note that this should only be used during moments of silence (i.e.
-inbetween quickfire session takes) as it creates a new recorded item.
-During this mode you should use the Takes Counter window \keys{\ctrl+\enter}
-to track the upcoming take number (in green) and take number during
-recording (in red with recording circle). You can right-click on the
-window to optionally override the automatic numbering and set a take
-number to increment from in addition to optionally setting a session
-name to act as media subfolder (which is automatically recalled when
-the window is reopened). You can left-click to recalculate the track
-count if you have removed some unused files from the project path.
-The calculated upcoming take number factors in unused files in the
-project path so as to avoid any file-naming conflicts. With manual
-override off (=0), switching back to an existing session will also
-automatically set the correct incoming take number. Please read the
-description of the function in Appendix A for best practices.
-
-Once recording is complete, you can briefly use the audition function
-\keys{A} which will instantly remove all record-arming from tracks.
+Select the parent or child track of a track group and then press \keys{F9} to
+begin `classical' take recording mode. If the track group isn't already
+record-armed (probably the case before you start your first recording of the
+session), the function will first simply record-arm the whole group so you can
+usefully monitor incoming signal. On a subsequent press of \keys{F9} recording
+begins. To stop recording, press \keys{F9} again. In horizontal workflow, the
+key press will maintain record arming and will begin recording on a subsequent
+press. In vertical workflow, this key press also automatically moves to, solos
+and arms the next available group so that recording can begin immediately on the
+next button press. ReaClassical will automatically create new groups as
+required. To manually add more destination groups when not recording, press
+\keys{\textbackslash}. To pause and unpause a recording without starting a new
+take, toggle the pause button in the transport or use the shortcut
+\keys{\ctrl+\space} (spacebar). To quickly increment the take number during
+recording use \keys{\shift+F9} but note that this should only be used during
+moments of silence (i.e. inbetween quickfire session takes) as it creates a new
+recorded item. During this mode you should use the Takes Counter window
+\keys{\ctrl+\enter} to track the upcoming take number (in green) and take number
+during recording (in red with recording circle). You can right-click on the
+window to optionally override the automatic numbering and set a take number to
+increment from in addition to optionally setting a session name to act as media
+subfolder (which is automatically recalled when the window is reopened). You can
+left-click to recalculate the track count if you have removed some unused files
+from the project path. The calculated upcoming take number factors in unused
+files in the project path so as to avoid any file-naming conflicts. With manual
+override off (=0), switching back to an existing session will also automatically
+set the correct incoming take number. Please read the description of the
+function in Appendix A for best practices.
+
+Once recording is complete, you can briefly use the audition function \keys{A}
+which will instantly remove all record-arming from tracks.
 
 \subsection{Take Ranking}
 
-During or after recording, you can rank one or more recorded takes.
-Use \keys{\ctrl+=} to rank higher, \keys{\ctrl+-} to rank lower,
-and \keys{\ctrl+0} to remove any ranking. If no item is selected,
-the last recorded item (along with other items in the same group)
-are affected. Otherwise, you can select one or more parent items.
-The ranking system uses a series of colors and a scale system of plusses
-and minuses (+/-) added as a suffix to the item name up to a maximum
-of three symbols. This allows for seven different rankings. Positive
-rankings are 3 intensities of green (good, very good, excellent),
-negative rankings are yellow, orange, red (below average, poor, unusable),
-with neutral (no ranking) using the default item color.
+During or after recording, you can rank one or more recorded takes. Use
+\keys{\ctrl+=} to rank higher, \keys{\ctrl+-} to rank lower, and \keys{\ctrl+0}
+to remove any ranking. If no item is selected, the last recorded item (along
+with other items in the same group) are affected. Otherwise, you can select one
+or more parent items. The ranking system uses a series of colors and a scale
+system of plusses and minuses (+/-) added as a suffix to the item name up to a
+maximum of three symbols. This allows for seven different rankings. Positive
+rankings are 3 intensities of green (good, very good, excellent), negative
+rankings are yellow, orange, red (below average, poor, unusable), with neutral
+(no ranking) using the default item color.
 
 \subsection{Recording Safety}
 
-When using the take counter for recording (highly recommended!), there
-is increased safety when using classical take recording (\keys{F9})
-via the automatic switch to a restricted set of keyboard shortcuts.
-In addition to stopping the recording via \keys{F9} and record-pausing,
-you can rank takes and use various zoom shortcuts. Note that you can
-still click on the transport buttons. In a future version of ReaClassical
-an even more robust recording safety feature will take the form of
-an optional unlock button.
+When using the take counter for recording (highly recommended!), there is
+increased safety when using classical take recording (\keys{F9}) via the
+automatic switch to a restricted set of keyboard shortcuts. In addition to
+stopping the recording via \keys{F9} and record-pausing, you can rank takes and
+use various zoom shortcuts. Note that you can still click on the transport
+buttons. In a future version of ReaClassical an even more robust recording
+safety feature will take the form of an optional unlock button.
 
 \subsection{Scheduled Recording}
 
-To start (and optionally end) a recording at specific times or manually
-start a recording to end at a certain time or after a certain duration,
-right-click on the take counter window and add the appropriate entry
-or entries in HH:MM format. After pressing OK, the take counter window
-will display information to the right of the take number. If you enter
-a start or end time earlier or equal to the current time, the function
-will assume a next day schedule and will annotate the time with an
-asterisk ({*}). Likewise, with both a start and end time, if the end
-time is earlier than or equal to start, it will assume a time 24 hours
-later. Don't forget to arm your tracks before walking away!
+To start (and optionally end) a recording at specific times or manually start a
+recording to end at a certain time or after a certain duration, right-click on
+the take counter window and add the appropriate entry or entries in HH:MM
+format. After pressing OK, the take counter window will display information to
+the right of the take number. If you enter a start or end time earlier or equal
+to the current time, the function will assume a next day schedule and will
+annotate the time with an asterisk ({*}). Likewise, with both a start and end
+time, if the end time is earlier than or equal to start, it will assume a time
+24 hours later. Don't forget to arm your tracks before walking away!
 
 \subsection{Overdub Recording}
 
-To record additional material after the fact (say a separate narration
-track or an organ part in a church after the main recording session
-in a concert hall), edit the orchestral material as usual and use
-a mixdown as a guide track in a new project (or new project tab).
-To achieve this, use a vertical workflow via \keys{F8}, add a REF
-track \keys{'} and set the ReaClassical Preferences option `REF
-= Overdub Guide' to `1' (\keys{F5}). With this setting, audio
-on the guide track will be audible during take recording and auditioning
-of folders. Use Classical Take Recording \keys{F9} and Take Counter
-window \keys{\ctrl+\enter} as normal. You can then S-D edit and mix
-the overdub material to fit with the orchestral mixdown or, if further
-mixing and mastering work is required on the original multi-track
-material, bring the organ part into that project as a new track in
-the destination folder \keys{\shift+T} (see below).
+To record additional material after the fact (say a separate narration track or
+an organ part in a church after the main recording session in a concert hall),
+edit the orchestral material as usual and use a mixdown as a guide track in a
+new project (or new project tab). To achieve this, use a vertical workflow via
+\keys{F8}, add a REF track \keys{'} and set the ReaClassical Preferences option
+`REF = Overdub Guide' to `1' (\keys{F5}). With this setting, audio on the guide
+track will be audible during take recording and auditioning of folders. Use
+Classical Take Recording \keys{F9} and Take Counter window \keys{\ctrl+\enter}
+as normal. You can then S-D edit and mix the overdub material to fit with the
+orchestral mixdown or, if further mixing and mastering work is required on the
+original multi-track material, bring the organ part into that project as a new
+track in the destination folder \keys{\shift+T} (see below).
 
 \subsection{Manipulating Tracks During a Recording Session}
 
 \subsubsection{Disabling Channels}
 
-In a typical recording session, the musicians with the least to record
-are often allowed to leave the session early once their work is completed.
-If they were individually recorded using a spot microphone, it wouldn't
-make sense to continue recording on that channel. In ReaClassical
-there are two main ways to disable a channel. In a horizontal workflow
-using a single folder, it is no hassle to simply un-arm the desired
-track(s). For a vertical workflow with multiple folders, the task
-could end up being time-consuming with potential for error. So, the
-recommended ReaClassical way, both easy and visually obvious, is to
-select the desired tracks in the destination group, right click and
-choose `lock track controls'. The tracks are then grayed out. Then
-sync using F8 and the same tracks are locked in every group. Whether
-or not the tracks were previously record-armed, those tracks will
-no longer be involved in the recording.
+In a typical recording session, the musicians with the least to record are often
+allowed to leave the session early once their work is completed. If they were
+individually recorded using a spot microphone, it wouldn't make sense to
+continue recording on that channel. In ReaClassical there are two main ways to
+disable a channel. In a horizontal workflow using a single folder, it is no
+hassle to simply un-arm the desired track(s). For a vertical workflow with
+multiple folders, the task could end up being time-consuming with potential for
+error. So, the recommended ReaClassical way, both easy and visually obvious, is
+to select the desired tracks in the destination group, right click and choose
+`lock track controls'. The tracks are then grayed out. Then sync using F8 and
+the same tracks are locked in every group. Whether or not the tracks were
+previously record-armed, those tracks will no longer be involved in the
+recording.
 
 \subsubsection{Adding a New Microphone Mid-Recording Session}
 
-As of ReaClassical 24.9 you can add a track to all folders in the
-project at once by using the shortcut \keys{\shift+T}. It will prompt
-you for a name and then add a new track with that name to the end
-of each group. This also works for a single folder while working in
-a horizontal workflow.
+As of ReaClassical 24.9 you can add a track to all folders in the project at
+once by using the shortcut \keys{\shift+T}. It will prompt you for a name and
+then add a new track with that name to the end of each group. This also works
+for a single folder while working in a horizontal workflow.
 
 \subsubsection{Deleting tracks}
 
 In both horizontal and vertical workflows, you can use \keys{\ctrl+\shift+\del}
-on a selected mixer track to quickly delete associated child tracks
-from all the groups of the project.
+on a selected mixer track to quickly delete associated child tracks from all the
+groups of the project.
 
 \subsubsection{Re-ordering tracks}
 
-In both horizontal and vertical workflows, you can re-order the mixer
-tracks by dragging followed by a \keys{F7} or \keys{F8} sync to
-quickly re-order all the associated tracks across groups at once.
-This includes all audio and assigned recording inputs.
+In both horizontal and vertical workflows, you can re-order the mixer tracks by
+dragging followed by a \keys{F7} or \keys{F8} sync to quickly re-order all the
+associated tracks across groups at once. This includes all audio and assigned
+recording inputs.
 
 \subsection{Audio Calculator}
 
-To figure out required disk space for a duration of audio or vice
-versa to figure out maximum duration of audio you can record based
-on available disk space, use \keys{\shift+H} to open a browser-based
-offline calculator. You can set units, channel count, samplerate,
-bit depth and format (WAV or MP3 at various bitrates).
+To figure out required disk space for a duration of audio or vice versa to
+figure out maximum duration of audio you can record based on available disk
+space, use \keys{\shift+H} to open a browser-based offline calculator. You can
+set units, channel count, samplerate, bit depth and format (WAV or MP3 at
+various bitrates).
 
 \begin{figure}
 \begin{centering}
@@ -835,94 +805,91 @@ \subsection{Audio Calculator}
 
 \section{Importing}
 
-Read this section if you recorded using a different DAW, portable
-recorder or are acting solely as editor and have the audio ready to
-import into ReaClassical. 
+Read this section if you recorded using a different DAW, portable recorder or
+are acting solely as editor and have the audio ready to import into
+ReaClassical. 
 
 \subsection{Importing Media}
 
-Set up the horizontal or vertical workflow as desired. Then either
-drag the audio into the REAPER window or select \menu{Insert > Media file...}
+Set up the horizontal or vertical workflow as desired. Then either drag the
+audio into the REAPER window or select \menu{Insert > Media file...}
 
-For classical music purposes, you can then choose whether to insert
-in the same time position on separate tracks or sequentially on a
-single track. For recordings with multiple takes using separate files,
-I recommend inserting/dragging one take at a time onto separate tracks
-on either the source group or first destination group. Once everything
-is imported you can then drag sets of tracks to the different source
-groups as desired. If you have a best take that will be the basis
-of the final edit, place this on the top destination group tracks.
+For classical music purposes, you can then choose whether to insert in the same
+time position on separate tracks or sequentially on a single track. For
+recordings with multiple takes using separate files, I recommend
+inserting/dragging one take at a time onto separate tracks on either the source
+group or first destination group. Once everything is imported you can then drag
+sets of tracks to the different source groups as desired. If you have a best
+take that will be the basis of the final edit, place this on the top destination
+group tracks.
 
 \subsection{Multi-Channel Audio Import}
 
-If you use a portable recorder such as a MixPre, you might have a
-multi-channel combined file. ReaClassical includes a special function
-for converting these into a stereo pair + mono track set. Import your
-multi-channel media using a single regular track (for a horizontal
-workflow) or multiple regular tracks (for a vertical workflow). Then,
-simply press \keys{F10} (no need to select the items). Answer yes
-to the prompt that appears if the first two channels should be treated
-as stereo interleaved (i.e. they represent your main pair). Depending
-on the choice made, the number of tracks in the resulting folder(s)
-will adjust accordingly. If the user selects \textquoteleft no\textquoteright{}
-to keep all tracks mono, the folder track is left empty so that the
-Prepare Takes \keys{T} function is able to create a muted guide track
-(more on this later!). Then you are given the opportunity to name
-your tracks. Obviously if you decide to move to a vertical workflow
-after exploding using a single track, you can always use \keys{F8}
-to create your source folders then drag the media to where you want
-them. If you need to bring in new takes after editing has started,
-simply use the function on an empty project tab then copy or cut them
-into the original project tab into the desired folder on the timeline.
+If you use a portable recorder such as a MixPre, you might have a multi-channel
+combined file. ReaClassical includes a special function for converting these
+into a stereo pair + mono track set. Import your multi-channel media using a
+single regular track (for a horizontal workflow) or multiple regular tracks (for
+a vertical workflow). Then, simply press \keys{F10} (no need to select the
+items). Answer yes to the prompt that appears if the first two channels should
+be treated as stereo interleaved (i.e. they represent your main pair). Depending
+on the choice made, the number of tracks in the resulting folder(s) will adjust
+accordingly. If the user selects \textquoteleft no\textquoteright{} to keep all
+tracks mono, the folder track is left empty so that the Prepare Takes \keys{T}
+function is able to create a muted guide track (more on this later!). Then you
+are given the opportunity to name your tracks. Obviously if you decide to move
+to a vertical workflow after exploding using a single track, you can always use
+\keys{F8} to create your source folders then drag the media to where you want
+them. If you need to bring in new takes after editing has started, simply use
+the function on an empty project tab then copy or cut them into the original
+project tab into the desired folder on the timeline.
 
 \section{Navigating a Project}
 
-In addition to built-in REAPER functions, ReaClassical uses a series
-of shortcuts to help you easily navigate your classical project. Important:
-I always make some dedicated time post-recording to get an overview
-of the recorded material, tidy up the digital notes I took during
-the session and perform a backup on an external drive as soon as possible.
+In addition to built-in REAPER functions, ReaClassical uses a series of
+shortcuts to help you easily navigate your classical project. Important: I
+always make some dedicated time post-recording to get an overview of the
+recorded material, tidy up the digital notes I took during the session and
+perform a backup on an external drive as soon as possible.
 
 \subsection{Whole Project}
 
 Use \keys{`} (backtick) to see the whole project horizontally and/or
-\keys{\ctrl+`} to see everything vertically. I chose to separate
-these functions because one of the axes (often the vertical) is set
-exactly how you need for editing and it would be a pain to have the
-axis reset each time. You can also go to the start or end of the project
-by pressing the \keys{Home} or \keys{End} key respectively. 
+\keys{\ctrl+`} to see everything vertically. I chose to separate these functions
+because one of the axes (often the vertical) is set exactly how you need for
+editing and it would be a pain to have the axis reset each time. You can also go
+to the start or end of the project by pressing the \keys{Home} or \keys{End} key
+respectively. 
 
 \subsection{Finding Takes}
 
-Use \keys{\return} (enter/return) on the main keyboard or numpad
-if you have one to quickly search for a take based on the underlying
-filename of the media item. This will work for any file-naming system
-that uses numbers before the file extension such as `main\_pair-T04.wav',
-`cello-spot-take\_23.flac' or even `ortf\_pair(04).wav such as
-created by Presonus Studio One. Note that if the imported or recorded
-files have zero-padding that is not a problem. If you have used an
-item to create an S-D edit, searching for a take will ignore these
-items and move directly to the original sources.
+Use \keys{\return} (enter/return) on the main keyboard or numpad if you have one
+to quickly search for a take based on the underlying filename of the media item.
+This will work for any file-naming system that uses numbers before the file
+extension such as `main\_pair-T04.wav', `cello-spot-take\_23.flac' or even
+`ortf\_pair(04).wav such as created by Presonus Studio One. Note that if the
+imported or recorded files have zero-padding that is not a problem. If you have
+used an item to create an S-D edit, searching for a take will ignore these items
+and move directly to the original sources.
 
 \subsection{Items \& Markers}
 
-You can easily shuffle back and forth between item edges by using
-the \keys{Q} and \keys{W} keys. You can move between markers by
-using the \keys{,} and \keys{.} keys (by design given on my keyboard
-they are the same keys that have \keys{<} and \keys{>}). \keys{\tab}
-(tab) moves the edit cursor to a time within a selected item or items. 
+You can easily shuffle back and forth between item edges by using the \keys{Q}
+and \keys{W} keys. You can move between markers by using the \keys{,} and
+\keys{.} keys (by design given on my keyboard they are the same keys that have
+\keys{<} and \keys{>}). \keys{\tab} (tab) moves the edit cursor to a time within
+a selected item or items. 
 
 \subsection{Parents \& Children}
 
-ReaClassical can hide or show children of track groups. This means
-that editing multi-track classical music can be as easy as editing
-a stereo track. When takes have been prepared (see below), all edits
-are automatically synchronized. Making an edit to the parent track
-automatically makes the same one to all the children too. To show
-hidden children select the parent track and press \keys{D} (for `display').
-To hide, select the parent track and press \keys{E} (for `\href{https://www.merriam-webster.com/dictionary/ensconce}{ensconce}').
-The other benefit is that a whole set of takes can be displayed vertically
-in the main editing window without too much effort. 
+ReaClassical can hide or show children of track groups. This means that editing
+multi-track classical music can be as easy as editing a stereo track. When takes
+have been prepared (see below), all edits are automatically synchronized. Making
+an edit to the parent track automatically makes the same one to all the children
+too. To show hidden children select the parent track and press \keys{D} (for
+`display'). To hide, select the parent track and press \keys{E} (for
+`\href{https://www.merriam-webster.com/dictionary/ensconce}{ensconce}'). The
+other benefit is that a whole set of takes can be displayed vertically in the
+main editing window without too much effort. 
 
 \begin{figure}
 \includegraphics[width=1\linewidth]{user_guide_images/uncollapsed}
@@ -941,107 +908,97 @@ \subsection{Parents \& Children}
 
 \subsection{Peaks Display}
 
-To adjust the visual zoom of wave peaks, use \keys{\ctrl+\arrowkeyup}
-and \keys{\ctrl+\arrowkeydown} . This is purely visual and allows
-for easier editing of quieter sections.
+To adjust the visual zoom of wave peaks, use \keys{\ctrl+\arrowkeyup} and
+\keys{\ctrl+\arrowkeydown} . This is purely visual and allows for easier editing
+of quieter sections.
 
 \subsection{ReaClassical Toolbar}
 
-While I designed ReaClassical to be used efficiently with keyboard
-shortcuts, there is a custom S-D editing toolbar for those that prefer
-it. However I do highly recommend learning the key strokes as you
-will find your editing speeds improve dramatically. The floating toolbar
-is visible by default on a new portable install. To open or close,
-use the \keys{F6} shortcut.
+While I designed ReaClassical to be used efficiently with keyboard shortcuts,
+there is a custom S-D editing toolbar for those that prefer it. However I do
+highly recommend learning the key strokes as you will find your editing speeds
+improve dramatically. The floating toolbar is visible by default on a new
+portable install. To open or close, use the \keys{F6} shortcut.
 \begin{flushleft}
 \begin{figure}[H]
 \begin{centering}
 \includegraphics[width=0.75\linewidth]{\string"user_guide_images/classical toolbar\string".png}
-\par\end{centering}
-\caption{\label{classical-toolbar-1}ReaClassical custom toolbar}
+\par\end{centering} \caption{\label{classical-toolbar-1}ReaClassical custom
+toolbar}
 \end{figure}
 \par\end{flushleft}
 
 From left to right, we have: Destination IN and OUT markers (\keys{1},
-\keys{2}), Source IN and OUT markers (\keys{3}, \keys{4}), Delete
-S-D markers (\keys{\ctrl+\del}), S-D Edit (\keys{5}), 3-point `Assembly
-Line' Edit (\keys{F3}), Insert with Time-stretching (\keys{F4}),
-Delete With Ripple (\keys{\backspace}), Delete Leaving Silence (\keys{\ctrl+\backspace}),
-Set Destination Tab Project Marker (\keys{\ctrl+alt+1} or \keys{\ctrl+alt+2}),
-Set Source Tab Project Marker (\keys{\ctrl+alt+3} or \keys{\ctrl+alt+4}),
-Delete S-D Project Markers (\keys{\shift+del}), and finally ReaClassical
-Help (\keys{H}).
+\keys{2}), Source IN and OUT markers (\keys{3}, \keys{4}), Delete S-D markers
+(\keys{\ctrl+\del}), S-D Edit (\keys{5}), 3-point `Assembly Line' Edit
+(\keys{F3}), Insert with Time-stretching (\keys{F4}), Delete With Ripple
+(\keys{\backspace}), Delete Leaving Silence (\keys{\ctrl+\backspace}), Set
+Destination Tab Project Marker (\keys{\ctrl+alt+1} or \keys{\ctrl+alt+2}), Set
+Source Tab Project Marker (\keys{\ctrl+alt+3} or \keys{\ctrl+alt+4}), Delete S-D
+Project Markers (\keys{\shift+del}), and finally ReaClassical Help (\keys{H}).
 
 \subsection{Summary of Track Types in ReaClassical}
 
-While some of these will be covered later in the manual, it is useful
-to give a summary of track types you can currently use in ReaClassical.
-First, we have the `regular' group or groups of tracks shown in
-the arrange window. These are where you record or import takes. You
-can record-arm tracks and manually select inputs (if you didn't set
-during initial setup or via \keys{\ctrl+F9}) here (a reminder that
-only locked tracks need only be set on the first group and then \keys{F8}
-can be pressed to sync across all groups. Second, we have the mixer
-tracks designated via `M:' prefix. These tracks shown only in the
-mixer are where you adjust the usual track controls such as names,
-pan, volume, phase etc. and also add FX. Their names are synced across
-the project via \keys{F7} or \keys{F8}. Third, we have aux busses
-designated via `@' prefix. You can route mixer tracks to these to
-use as a reverb bus etc. Fourth, we have submix busses designated
-via `\#' prefix. You can route mixer tracks to these as a way to
-collect together microphones from the same orchestral section etc.
-Fifth, we have a dedicated room tone track where you can place recorded
-or generated room tone (more on this in the mastering section). Sixth,
-we have the `RCMASTER' bus which leads directly to the master REAPER
-bus. Here you can gain stage into the master bus, add FX etc. Seventh,
-we have reference tracks which lie outside of the RCMASTER structure
-thereby allowing the user to quickly make comparisons with other imported
-material via the audition shortcuts. Finally, the master bus itself
-where again you can set final levels, add FX etc. As mentioned elsewhere,
-try not to delete the mixer tracks or RCMASTER. But, even if you do
-by accident, simply run \keys{F7} or \keys{F8} to recreate them
-depending on your chosen workflow.
-
-It's important to maintain the prefixes for the special tracks (@,
-\# and M:) and to retain the RoomTone, Reference and RCMASTER track
-names for audio routing and mixer visibility. However, if you accidentally
-make improper changes, simply re-sync via \keys{F7} or \keys{F8}
-to automatically add back missing prefixes and correct naming where
-appropriate. 
+While some of these will be covered later in the manual, it is useful to give a
+summary of track types you can currently use in ReaClassical. First, we have the
+`regular' group or groups of tracks shown in the arrange window. These are where
+you record or import takes. You can record-arm tracks and manually select inputs
+(if you didn't set during initial setup or via \keys{\ctrl+F9}) here (a reminder
+that only locked tracks need only be set on the first group and then \keys{F8}
+can be pressed to sync across all groups. Second, we have the mixer tracks
+designated via `M:' prefix. These tracks shown only in the mixer are where you
+adjust the usual track controls such as names, pan, volume, phase etc. and also
+add FX. Their names are synced across the project via \keys{F7} or \keys{F8}.
+Third, we have aux busses designated via `@' prefix. You can route mixer tracks
+to these to use as a reverb bus etc. Fourth, we have submix busses designated
+via `\#' prefix. You can route mixer tracks to these as a way to collect
+together microphones from the same orchestral section etc. Fifth, we have a
+dedicated room tone track where you can place recorded or generated room tone
+(more on this in the mastering section). Sixth, we have the `RCMASTER' bus which
+leads directly to the master REAPER bus. Here you can gain stage into the master
+bus, add FX etc. Seventh, we have reference tracks which lie outside of the
+RCMASTER structure thereby allowing the user to quickly make comparisons with
+other imported material via the audition shortcuts. Finally, the master bus
+itself where again you can set final levels, add FX etc. As mentioned elsewhere,
+try not to delete the mixer tracks or RCMASTER. But, even if you do by accident,
+simply run \keys{F7} or \keys{F8} to recreate them depending on your chosen
+workflow.
+
+It's important to maintain the prefixes for the special tracks (@, \# and M:)
+and to retain the RoomTone, Reference and RCMASTER track names for audio routing
+and mixer visibility. However, if you accidentally make improper changes, simply
+re-sync via \keys{F7} or \keys{F8} to automatically add back missing prefixes
+and correct naming where appropriate. 
 
 \section{Editing}
 
 \subsection{Introduction to Editing Workflows}
 
-Once you have recorded or imported your classical music audio, you
-are ready to start editing the raw material! Here we talk about the
-meat and potatoes of the classical editing workflows. Workflows---plural---because
-I have included different approaches to suit as many tastes as possible
-within the confines of the REAPER application. I will explain each
-in detail after this brief introduction. As described previously,
-you have multiple ways of proceeding. First you can have all your
-takes lined up in a row horizontally and you place your source in
-and out markers, destination in and out markers then press a keyboard
-shortcut to achieve your 2-, 3- or 4-point edit. The second way is
-to set up your takes vertically and then either use the same marker
-system to make your edits or use razor edits (my preferred method
-when working vertically). Whichever option you choose, you will then
-end up in the crossfade editor view which uses a custom two-lane view
-with classical crossfade function to make precise edits really easy
-in REAPER. I don't often use the fade editor dialog
-that comes with REAPER even though I make it appear as part of the
-function.
+Once you have recorded or imported your classical music audio, you are ready to
+start editing the raw material! Here we talk about the meat and potatoes of the
+classical editing workflows. Workflows---plural---because I have included
+different approaches to suit as many tastes as possible within the confines of
+the REAPER application. I will explain each in detail after this brief
+introduction. As described previously, you have multiple ways of proceeding.
+First you can have all your takes lined up in a row horizontally and you place
+your source in and out markers, destination in and out markers then press a
+keyboard shortcut to achieve your 2-, 3- or 4-point edit. The second way is to
+set up your takes vertically and then either use the same marker system to make
+your edits or use razor edits (my preferred method when working vertically).
+Whichever option you choose, you will then end up in the crossfade editor view
+which uses a custom two-lane view with classical crossfade function to make
+precise edits really easy in REAPER. I don't often use the fade editor dialog
+that comes with REAPER even though I make it appear as part of the function.
 
 \subsection{Marking Edits on your Scores}
 
-This is best done using a physical, photocopied score by the conductor
-or lead musician. I advocate for a \textquotedblleft T\textquotedblright{}
-system where a large T is inserted into the score at the intended
-edit point. Either side of the T stem, and under the crossbar, the
-outgoing and incoming take numbers are written. A wavy crossbar indicates
-some leeway for where the edit point can be placed. Further notes
-can be attached underneath the T such as directions for tightening
-the gap etc.
+This is best done using a physical, photocopied score by the conductor or lead
+musician. I advocate for a \textquotedblleft T\textquotedblright{} system where
+a large T is inserted into the score at the intended edit point. Either side of
+the T stem, and under the crossbar, the outgoing and incoming take numbers are
+written. A wavy crossbar indicates some leeway for where the edit point can be
+placed. Further notes can be attached underneath the T such as directions for
+tightening the gap etc.
 
 \begin{figure}
 \begin{centering}
@@ -1054,12 +1011,11 @@ \subsection{Marking Edits on your Scores}
 
 \subsection{Preparing Takes}
 
-Whether working horizontally or vertically, you can use the Prepare
-Takes function. It is intelligent enough to figure out which workflow
-you are using. Just press \keys{T} (for `Takes'). Super simple!
-Every set of items comprising a take has changed color, is now grouped.
-In addition, source and destination groups are linked or (re-linked)
-for various types of editing. 
+Whether working horizontally or vertically, you can use the Prepare Takes
+function. It is intelligent enough to figure out which workflow you are using.
+Just press \keys{T} (for `Takes'). Super simple! Every set of items comprising a
+take has changed color, is now grouped. In addition, source and destination
+groups are linked or (re-linked) for various types of editing. 
 
 \begin{figure}
 \includegraphics[width=1\linewidth]{\string"user_guide_images/prepared horizontal\string".png}
@@ -1075,131 +1031,118 @@ \subsection{Preparing Takes}
 
 \end{figure}
 
-If Prepare the `Prepare Takes: Random colors' value is set to 0
-in ReaClassical Preferences \keys{F5} (the default), for horizontal
-workflows, two shades of blue are used which also helps show the user
-where edits happen. For vertical workflows, the destination group
-again uses two shades of blue and the source groups are colored green.
-In this way they match the colors of the associated S-D markers. If
-`Prepare Takes: Random colors' value is set to 1, for horizontally
-laid-out takes, each complete take is colored with a different random
-color. For vertically laid-out takes, each folder's
-items are given a different random color. This way, however you work,
-it's easy to see where edits have come from. Prepare
-Takes can be re-run at any point to re-sync colors and will preserve
-any custom colors set via the Colorize function \keys{K}.
-
-If you imported or recorded all your files in child tracks, the function
-will additionally copy all items from each first child track into
-the folder track and mute them to act as a visual guide track. You
-will receive a pop-up message if this is the case. In the cases where
-you might use the function after editing has begun, the destination
-group will switch to using alternating colors for items so that you
-can easily tell where you have made edits.
+If Prepare the `Prepare Takes: Random colors' value is set to 0 in ReaClassical
+Preferences \keys{F5} (the default), for horizontal workflows, two shades of
+blue are used which also helps show the user where edits happen. For vertical
+workflows, the destination group again uses two shades of blue and the source
+groups are colored green. In this way they match the colors of the associated
+S-D markers. If `Prepare Takes: Random colors' value is set to 1, for
+horizontally laid-out takes, each complete take is colored with a different
+random color. For vertically laid-out takes, each folder's items are given a
+different random color. This way, however you work, it's easy to see where edits
+have come from. Prepare Takes can be re-run at any point to re-sync colors and
+will preserve any custom colors set via the Colorize function \keys{K}.
+
+If you imported or recorded all your files in child tracks, the function will
+additionally copy all items from each first child track into the folder track
+and mute them to act as a visual guide track. You will receive a pop-up message
+if this is the case. In the cases where you might use the function after editing
+has begun, the destination group will switch to using alternating colors for
+items so that you can easily tell where you have made edits.
 
 \subsection{Auditioning Takes}
 
-For horizontal editing, you could use the usual transport shortcuts
-(spacebar to start and stop playback, for example). However, for both
-horizontal and vertical editing, it is highly recommended to use the
-Audition function to quickly solo only the folder (or track) you are
-interested in hearing. Just hover the mouse over the parent for the
-full mix or a child to solo a spot microphone you want to hear and
-press \keys{A} . This includes any @ aux or \# submix track routing
-in the signal path. You can easily and quickly create your own custom
-audition mix by engaging solo or mute buttons on the mixer, aux and
-submix tracks (either with transport stopped or on the fly) and using
-hover + \keys{A} on the parent track. You can therefore listen to
-anything from the full mix down to examining just the woodwinds submix
-or a single reverb bus. To audition using a custom playback rate,
-use hover + \keys{\shift+A}. The custom playback rate can be set
-via \keys{F5}. Note that regular auditioning will automatically reset
-to the standard playback rate. 
-
-Don't forget that you can quickly jump to your various source takes
-using \keys{\return} and jump to a time within a selected item or
-crossfaded items using \keys{\tab} .
+For horizontal editing, you could use the usual transport shortcuts (spacebar to
+start and stop playback, for example). However, for both horizontal and vertical
+editing, it is highly recommended to use the Audition function to quickly solo
+only the folder (or track) you are interested in hearing. Just hover the mouse
+over the parent for the full mix or a child to solo a spot microphone you want
+to hear and press \keys{A} . This includes any @ aux or \# submix track routing
+in the signal path. You can easily and quickly create your own custom audition
+mix by engaging solo or mute buttons on the mixer, aux and submix tracks (either
+with transport stopped or on the fly) and using hover + \keys{A} on the parent
+track. You can therefore listen to anything from the full mix down to examining
+just the woodwinds submix or a single reverb bus. To audition using a custom
+playback rate, use hover + \keys{\shift+A}. The custom playback rate can be set
+via \keys{F5}. Note that regular auditioning will automatically reset to the
+standard playback rate. 
+
+Don't forget that you can quickly jump to your various source takes using
+\keys{\return} and jump to a time within a selected item or crossfaded items
+using \keys{\tab} .
 
 \subsection{Source-Destination Editing}
 
-You set your in and out points using special colored labeled markers
-via shortcuts \keys{1} and \keys{2} (Destination) and \keys{3}
-and \keys{4} (Source). Simply press \keys{5} to make the 2-, 3-
-or 4-point edit. depending on how many markers you set. If you attempt
-to set one of the destination markers inside of an existing crossfade
-or within 500ms of a crossfade or item edge, the function will alert
-you (pressing OK places the marker anyway). This helps avoid awkward
-`sliver' edits that can happen especially if you are zoomed out
-and placing markers by ear. You can customize the check range via
-ReaClassical Preferences (\keys{F5}). The check range (in milliseconds)
-is the distance beyond an item edge, fade or crossfade. For example,
-setting to 0 would only check for placement \emph{inside }a fade or
-crossfade.
-
-You'll also notice that because you prepared the various
-takes with colors (and grouping), it is really easy to see which takes
-compose your final edited tracks. It's worth pointing
-out that my S/D and classical crossfade functions place the crossfade
-immediately before the entry and exit points of the pasted audio.
-The crossfade length and other values can be set on a per-project
-basis via ReaClassical Preferences (\keys{F5}). In practice this
-means that if you visually set a marker (or edit cursor in the case
-of the classical crossfade function) immediately before a transient,
-said transient will sound post-crossfade which is what we generally
-desire. Often, given this important detail, I don't
-even need to visit the crossfade editor view.
-
-When using a vertical workflow, make sure you have the source folder
-selected before you create the source IN and OUT markers. You can
-do so by clicking on the item at the locations you want to set the
-markers. This adds the folder number as a prefix to the source marker
-labels. The various functions will then use this label to know which
-folder to copy from. This is really useful if you undo the edit in
-order to tweak the markers by dragging them. It doesn't
-matter if you then select other folders/tracks. In the event you use
-two different folders for the source IN and OUT markers, the functions
-will prefer the source IN label.
-
-The downside to this workflow when using a vertical approach is that
-the source and destination markers can get in each other's
-way visually if the takes aren't somewhat staggered,
-however the process still works as expected. See below for a razor
-editing alternative.
-
-\emph{Optional: If you are worried about accidentally moving markers
-and items during precise S-D or assembly editing, engage the padlock
-icon in the top-left of the ReaClassical window. By default with the
-latest ReaClassical project template, it should prevent manual left/right
-item movement and marker dragging (while still allowing for S-D editing
-with ripple). Even though you can't move S-D markers by dragging with
-this lock mode engaged, you can still use the shortcuts }\keys{1},
-\keys{2}, \keys{3} and \keys{4}\emph{ to change marker location.
-Just remember to disengage lock mode when you enter the fade editor
-or else you won't be able to move the items of the crossfade!}
-
-\subsubsection{\label{subsec:Multi-Project-Tab-S-D}Multi-Project Tab S-D Editing}
-
-If you'd like to S-D edit between various open project tabs you can
-set both the source and destination `project' markers via \keys{\ctrl+\Alt+1}
-(or \keys{\ctrl+\Alt+2}) for destination and \keys{\ctrl+\Alt+3}
-(or \keys{\ctrl+\Alt+4}) for source (essentially the same numbers
-associated with regular S-D markers). The markers can exist anywhere
-on the tab's timeline but perhaps the very beginning or end would
-be good to keep them out of the way. The S-D editing itself then works
-just as for a single tab other than any source markers that are set
-are not deleted to aid quickly undoing in the destination tab and
-being ready to reapply the edit. The only rule when using S-D project
-markers is to ensure that source or destination markers should be
-paired with the corresponding source or destination project marker.
-This workflow would, for example, allow you to have multiple project
-tabs (perhaps one for each symphony movement plus a final `destination'
-tab), allowing for both internal editing per tab but after setting
-the S-D project markers compiling the final edit in the `destination'
-tab. To delete all the S-D project markers press \keys{\shift+\del}.
-Also, in multi-tab S-D editing, when regular markers are placed, any
-other existing versions in other tabs are automatically deleted to
-ensure that only one version of the marker exists at a time across
-all open project tabs.
+You set your in and out points using special colored labeled markers via
+shortcuts \keys{1} and \keys{2} (Destination) and \keys{3} and \keys{4}
+(Source). Simply press \keys{5} to make the 2-, 3- or 4-point edit. depending on
+how many markers you set. If you attempt to set one of the destination markers
+inside of an existing crossfade or within 500ms of a crossfade or item edge, the
+function will alert you (pressing OK places the marker anyway). This helps avoid
+awkward `sliver' edits that can happen especially if you are zoomed out and
+placing markers by ear. You can customize the check range via ReaClassical
+Preferences (\keys{F5}). The check range (in milliseconds) is the distance
+beyond an item edge, fade or crossfade. For example, setting to 0 would only
+check for placement \emph{inside }a fade or crossfade.
+
+You'll also notice that because you prepared the various takes with colors (and
+grouping), it is really easy to see which takes compose your final edited
+tracks. It's worth pointing out that my S/D and classical crossfade functions
+place the crossfade immediately before the entry and exit points of the pasted
+audio. The crossfade length and other values can be set on a per-project basis
+via ReaClassical Preferences (\keys{F5}). In practice this means that if you
+visually set a marker (or edit cursor in the case of the classical crossfade
+function) immediately before a transient, said transient will sound
+post-crossfade which is what we generally desire. Often, given this important
+detail, I don't even need to visit the crossfade editor view.
+
+When using a vertical workflow, make sure you have the source folder selected
+before you create the source IN and OUT markers. You can do so by clicking on
+the item at the locations you want to set the markers. This adds the folder
+number as a prefix to the source marker labels. The various functions will then
+use this label to know which folder to copy from. This is really useful if you
+undo the edit in order to tweak the markers by dragging them. It doesn't matter
+if you then select other folders/tracks. In the event you use two different
+folders for the source IN and OUT markers, the functions will prefer the source
+IN label.
+
+The downside to this workflow when using a vertical approach is that the source
+and destination markers can get in each other's way visually if the takes aren't
+somewhat staggered, however the process still works as expected. See below for a
+razor editing alternative.
+
+\emph{Optional: If you are worried about accidentally moving markers and items
+during precise S-D or assembly editing, engage the padlock icon in the top-left
+of the ReaClassical window. By default with the latest ReaClassical project
+template, it should prevent manual left/right item movement and marker dragging
+(while still allowing for S-D editing with ripple). Even though you can't move
+S-D markers by dragging with this lock mode engaged, you can still use the
+shortcuts }\keys{1}, \keys{2}, \keys{3} and \keys{4}\emph{ to change marker
+location. Just remember to disengage lock mode when you enter the fade editor or
+else you won't be able to move the items of the crossfade!}
+
+\subsubsection{\label{subsec:Multi-Project-Tab-S-D}Multi-Project Tab S-D
+Editing}
+
+If you'd like to S-D edit between various open project tabs you can set both the
+source and destination `project' markers via \keys{\ctrl+\Alt+1} (or
+\keys{\ctrl+\Alt+2}) for destination and \keys{\ctrl+\Alt+3} (or
+\keys{\ctrl+\Alt+4}) for source (essentially the same numbers associated with
+regular S-D markers). The markers can exist anywhere on the tab's timeline but
+perhaps the very beginning or end would be good to keep them out of the way. The
+S-D editing itself then works just as for a single tab other than any source
+markers that are set are not deleted to aid quickly undoing in the destination
+tab and being ready to reapply the edit. The only rule when using S-D project
+markers is to ensure that source or destination markers should be paired with
+the corresponding source or destination project marker. This workflow would, for
+example, allow you to have multiple project tabs (perhaps one for each symphony
+movement plus a final `destination' tab), allowing for both internal editing per
+tab but after setting the S-D project markers compiling the final edit in the
+`destination' tab. To delete all the S-D project markers press
+\keys{\shift+\del}. Also, in multi-tab S-D editing, when regular markers are
+placed, any other existing versions in other tabs are automatically deleted to
+ensure that only one version of the marker exists at a time across all open
+project tabs.
 
 \begin{figure}
 \begin{centering}
@@ -1212,108 +1155,98 @@ \subsubsection{\label{subsec:Multi-Project-Tab-S-D}Multi-Project Tab S-D Editing
 
 \subsubsection{4-Point Editing}
 
-For this operation, set all four markers using \keys{1} , \keys{2}
-, \keys{3} and \keys{4} . Make the edit with \keys{5} . This is
-the most useful edit when dealing with classical music or other acoustic
-music performed without a metronome.
+For this operation, set all four markers using \keys{1} , \keys{2} , \keys{3}
+and \keys{4} . Make the edit with \keys{5} . This is the most useful edit when
+dealing with classical music or other acoustic music performed without a
+metronome.
 
 \subsubsection{3-Point Editing}
 
-For this operation, set any combination of three markers. Again, make
-the edit with \keys{5} . The missing marker is placed according to
-the distance set by the existing complete pair. 
+For this operation, set any combination of three markers. Again, make the edit
+with \keys{5} . The missing marker is placed according to the distance set by
+the existing complete pair. 
 
 \subsubsection{2-Point Editing}
 
-For this operation, there are two possibilities: 1) Set one source
-marker and one destination marker. Make the edit with \keys{5} .
-Any missing IN markers are set to the beginning of the timeline and
-any missing OUT markers are set to the end of the source or destination
-material. 2) Set both source markers and no destination markers. Make
-the edit with \keys{5} . Here, the destination markers are set at
-the exact same positions on the timeline as the source markers. Obviously
-this operation is only useful in a vertical editing workflow when
-you can select source material from a different track group. The usefulness
-of this second option is further reduced if the takes are not vertically
-aligned and not virtually identical in tempo. On the other hand, it
-could be an incredibly quick method for editing takes of a hybrid
-classical piece that is performed to a click track or other recorded
-steady beat.
+For this operation, there are two possibilities: 1) Set one source marker and
+one destination marker. Make the edit with \keys{5} . Any missing IN markers are
+set to the beginning of the timeline and any missing OUT markers are set to the
+end of the source or destination material. 2) Set both source markers and no
+destination markers. Make the edit with \keys{5} . Here, the destination markers
+are set at the exact same positions on the timeline as the source markers.
+Obviously this operation is only useful in a vertical editing workflow when you
+can select source material from a different track group. The usefulness of this
+second option is further reduced if the takes are not vertically aligned and not
+virtually identical in tempo. On the other hand, it could be an incredibly quick
+method for editing takes of a hybrid classical piece that is performed to a
+click track or other recorded steady beat.
 
 \subsection{Other SD Functions}
 
 \subsubsection{Insert with Time-Stretching}
 
-Using the ReaClassical\_Insert with time-stretching function \keys{F4}
-, you can complete a 4-point edit where the material between the source
-markers is time-stretched to fit the length of time between the destination
-markers. This is really useful when the source material has to fit
-the destination span exactly, for example when working with visual
-cues. The time-stretch algorithm used will be the one set in REAPER
-project settings. When there are multiple items in between the source
-markers, the function will glue the items together before time-stretching.
-Note that this function can also be used in multi-tab S-D editing
-mode (see above).
+Using the ReaClassical\_Insert with time-stretching function \keys{F4} , you can
+complete a 4-point edit where the material between the source markers is
+time-stretched to fit the length of time between the destination markers. This
+is really useful when the source material has to fit the destination span
+exactly, for example when working with visual cues. The time-stretch algorithm
+used will be the one set in REAPER project settings. When there are multiple
+items in between the source markers, the function will glue the items together
+before time-stretching. Note that this function can also be used in multi-tab
+S-D editing mode (see above).
 
 \subsubsection{Assembly Line Editing}
 
-Sometimes you don't necessarily have a best overall
-take and it is desirable to build the perfect performance linearly,
-section by section, measure by measure. In this case, set the destination
-IN marker with \keys{1} and set both source markers using \keys{3}
-and \keys{4}. Press the \keys{F3} shortcut. A 3-point insert operation
-will occur and the destination IN marker will jump to the end of the
-pasted item, ready for the next edit. This means that in order to
-compile further sections, you now only need set the source markers.
-If you accidentally move the location of the destination IN marker
-in the middle of assembly line editing, the function will let you
-know and offer to move the marker back to the right edge of the latest
-item in the edit. This will even allow you to do some regular 3- or
-4-point editing earlier in the sequence before continuing with the
-assembly line edits. Just place the destination IN marker anywhere
-in the project and answer `No' when the message box appears. Note
-that this function can also be used in multi-tab S-D editing mode
-(see above).
+Sometimes you don't necessarily have a best overall take and it is desirable to
+build the perfect performance linearly, section by section, measure by measure.
+In this case, set the destination IN marker with \keys{1} and set both source
+markers using \keys{3} and \keys{4}. Press the \keys{F3} shortcut. A 3-point
+insert operation will occur and the destination IN marker will jump to the end
+of the pasted item, ready for the next edit. This means that in order to compile
+further sections, you now only need set the source markers. If you accidentally
+move the location of the destination IN marker in the middle of assembly line
+editing, the function will let you know and offer to move the marker back to the
+right edge of the latest item in the edit. This will even allow you to do some
+regular 3- or 4-point editing earlier in the sequence before continuing with the
+assembly line edits. Just place the destination IN marker anywhere in the
+project and answer `No' when the message box appears. Note that this function
+can also be used in multi-tab S-D editing mode (see above).
 
 \subsubsection{Delete / Delete with Ripple}
 
-While perhaps not used as often as 3- and 4-point edits, I have created
-two functions for deletion of material. Delete \& Ripple \keys{\backspace}
-(backspace) will delete the material between source IN and OUT markers
-and ripple material to the right backwards with a short crossfade.
-Delete Leaving Silence \keys{\ctrl+\backspace} will also delete but
-maintain the silence without rippling backwards.
+While perhaps not used as often as 3- and 4-point edits, I have created two
+functions for deletion of material. Delete \& Ripple \keys{\backspace}
+(backspace) will delete the material between source IN and OUT markers and
+ripple material to the right backwards with a short crossfade. Delete Leaving
+Silence \keys{\ctrl+\backspace} will also delete but maintain the silence
+without rippling backwards.
 
 \subsubsection{Add S-D Markers to Edges of Item(s) or Time Selection}
 
-Used in combination with Delete / Delete with Ripple (\keys{\ctrl+\backspace}
-/ \keys{\backspace}), you can quickly set both source markers to
-the edges of one or more selected items on a parent track or time
-selection via \keys{F12}. This is a time-saver when dealing with
-potential `sliver' edits i.e. small unneeded leftover edits as a
-result of multiple rounds of zoomed-out S-D editing. Note that the
-built-in checks when manually placing destination markers should go
-some way to alleviating this issue which can easily go unnoticed in
-other classical music DAWs. Likewise you can use \keys{\ctrl+F12}
-to set destination markers (selected items must be in the destination
-folder). Note that if using time selection for placing source markers,
-as for S-D marker placement via \keys{3} or \keys{4}, make sure
-you first have the desired source folder track selected before pressing
-the shortcut (a good way to do this is to first click on the item
-involved). You may prefer to set both source and destination markers
-this way over the more traditional number key shortcuts acting as
-a sort of hybrid between S-D and razor editing. Also note that if
-both selected items and a time selection exist, the time selection
-takes precedence.
+Used in combination with Delete / Delete with Ripple (\keys{\ctrl+\backspace} /
+\keys{\backspace}), you can quickly set both source markers to the edges of one
+or more selected items on a parent track or time selection via \keys{F12}. This
+is a time-saver when dealing with potential `sliver' edits i.e. small unneeded
+leftover edits as a result of multiple rounds of zoomed-out S-D editing. Note
+that the built-in checks when manually placing destination markers should go
+some way to alleviating this issue which can easily go unnoticed in other
+classical music DAWs. Likewise you can use \keys{\ctrl+F12} to set destination
+markers (selected items must be in the destination folder). Note that if using
+time selection for placing source markers, as for S-D marker placement via
+\keys{3} or \keys{4}, make sure you first have the desired source folder track
+selected before pressing the shortcut (a good way to do this is to first click
+on the item involved). You may prefer to set both source and destination markers
+this way over the more traditional number key shortcuts acting as a sort of
+hybrid between S-D and razor editing. Also note that if both selected items and
+a time selection exist, the time selection takes precedence.
 
 \subsubsection{Move / Zoom to S-D markers}
 
-To move to any existing S-D markers use \keys{\ctrl+1}, \keys{2},
-\keys{3} or \keys{4}. To zoom to any of the S-D markers for more
-fine-grained placement, use \keys{\Alt+1}, \keys{2}, \keys{3} or
-\keys{4}. If you have multi-tab S-D editing set up (see \ref{subsec:Multi-Project-Tab-S-D}),
-these shortcuts will also automatically move focus to the correct
-project tab. 
+To move to any existing S-D markers use \keys{\ctrl+1}, \keys{2}, \keys{3} or
+\keys{4}. To zoom to any of the S-D markers for more fine-grained placement, use
+\keys{\Alt+1}, \keys{2}, \keys{3} or \keys{4}. If you have multi-tab S-D editing
+set up (see \ref{subsec:Multi-Project-Tab-S-D}), these shortcuts will also
+automatically move focus to the correct project tab. 
 
 \subsubsection{Delete S-D markers}
 
@@ -1321,19 +1254,18 @@ \subsubsection{Delete S-D markers}
 
 \subsection{Razor Editing}
 
-Because of the potential for visual overlap of markers, I much prefer
-the REAPER razor edit functionality for vertical take work. It works
-a lot like the process shown in this Pyramix \href{https://www.youtube.com/watch?v=wQXwnvITQCQ}{video}.
-
-While Pyramix also has additional source-destination marker workflows,
-I couldn't help but feel that for professional ensembles
-that manage a high degree of tempo regularity between takes, this
-method can be extremely efficient. This isn't the document
-to introduce REAPER razor edits as there are plenty of resources online
-if you do a simple search. Here we are only concerning ourselves with
-creation of the razor area across all our pairs and spot mics (REAPER's
-default shortcut is the rather uninspiring Alt+Right drag). Thankfully,
-it can become the default editing mode by selecting the razor edit
+Because of the potential for visual overlap of markers, I much prefer the REAPER
+razor edit functionality for vertical take work. It works a lot like the process
+shown in this Pyramix \href{https://www.youtube.com/watch?v=wQXwnvITQCQ}{video}.
+
+While Pyramix also has additional source-destination marker workflows, I
+couldn't help but feel that for professional ensembles that manage a high degree
+of tempo regularity between takes, this method can be extremely efficient. This
+isn't the document to introduce REAPER razor edits as there are plenty of
+resources online if you do a simple search. Here we are only concerning
+ourselves with creation of the razor area across all our pairs and spot mics
+(REAPER's default shortcut is the rather uninspiring Alt+Right drag).
+Thankfully, it can become the default editing mode by selecting the razor edit
 mode on the main toolbar and left-click dragging. 
 
 \begin{figure}
@@ -1346,53 +1278,48 @@ \subsection{Razor Editing}
 
 \subsection{Crossfade Editor}
 
-Now that you've made your precise edits using S/D workflow
-or razor editing (no worries if it's a bit rough!),
-it's time to check things through with the help of
-the crossfade editor view.
-
-While REAPER includes an excellent crossfade editor, it does not reach
-the same levels as the ones in specialist classical DAWs such as Sequoia
-and Pyramix. This is mainly due to the inability to see the continued
-waveforms of the items beyond the crossfade they enter and likewise
-the previous waveforms of the items that exit the crossfade. The ability
-to visually align transients and then position the crossfade just
-before it is absolutely critical (and fun when you have the tools
-to do it!). So, beyond the standard REAPER crossfade editor what have
-I provided? Select the right-hand item of a fade (or hover over the
-item if `Add S-D Markers at Mouse Hover' is set to 1 in ReaClassical
-Preferences \keys{F5}), press \keys{F} and you are moved into crossfade
-editor mode. Here, the first track is given full vertical zoom, the
-two-lanes for overlapping items is enabled, colored red and green,
-and the fade editor toolbox appears (I personally position it to hover
-over the middle of my mixer. Note also that you are automatically
-centered on the crossfade and can use the mouse wheel to zoom in and
-out. Press \keys{F} again and you exit that mode. If for some reason
-you accidentally close just the fade toolbox, either open again using
-action in the action list or, better still, simply close and re-open
-the fade editor using \keys{F} .
-
-So, now you are in the crossfade editor mode, ensuring one or both
-items are selected, hover your mouse over a blank area and press \keys{Z}
-to automatically mirror extend the waveform view of each item. Essentially,
-it increases the overlap so you can spot and align the transient you
-want. My own preferred method of getting the perfect crossfade is
-to locate the transient I want on the red left item, place the edit
-cursor just before it, then drag my green right item so that the two
-transients align. Then I press \keys{X} (classical crossfade) and
-I'm done! The crossfade happens at the location of
-the edit cursor (well, just before it as explained above). 
-
-I love this method so much that I don't miss Sequoia
-or Pyramix any more. Here it is in ordered list form:
+Now that you've made your precise edits using S/D workflow or razor editing (no
+worries if it's a bit rough!), it's time to check things through with the help
+of the crossfade editor view.
+
+While REAPER includes an excellent crossfade editor, it does not reach the same
+levels as the ones in specialist classical DAWs such as Sequoia and Pyramix.
+This is mainly due to the inability to see the continued waveforms of the items
+beyond the crossfade they enter and likewise the previous waveforms of the items
+that exit the crossfade. The ability to visually align transients and then
+position the crossfade just before it is absolutely critical (and fun when you
+have the tools to do it!). So, beyond the standard REAPER crossfade editor what
+have I provided? Select the right-hand item of a fade (or hover over the item if
+`Add S-D Markers at Mouse Hover' is set to 1 in ReaClassical Preferences
+\keys{F5}), press \keys{F} and you are moved into crossfade editor mode. Here,
+the first track is given full vertical zoom, the two-lanes for overlapping items
+is enabled, colored red and green, and the fade editor toolbox appears (I
+personally position it to hover over the middle of my mixer. Note also that you
+are automatically centered on the crossfade and can use the mouse wheel to zoom
+in and out. Press \keys{F} again and you exit that mode. If for some reason you
+accidentally close just the fade toolbox, either open again using action in the
+action list or, better still, simply close and re-open the fade editor using
+\keys{F} .
+
+So, now you are in the crossfade editor mode, ensuring one or both items are
+selected, hover your mouse over a blank area and press \keys{Z} to automatically
+mirror extend the waveform view of each item. Essentially, it increases the
+overlap so you can spot and align the transient you want. My own preferred
+method of getting the perfect crossfade is to locate the transient I want on the
+red left item, place the edit cursor just before it, then drag my green right
+item so that the two transients align. Then I press \keys{X} (classical
+crossfade) and I'm done! The crossfade happens at the location of the edit
+cursor (well, just before it as explained above). 
+
+I love this method so much that I don't miss Sequoia or Pyramix any more. Here
+it is in ordered list form:
 \begin{enumerate}
-\item Increase overlap (by hovering mouse either in a blank area or over
-one of the items and pressing \keys{Z} shortcut to mirror extend
-the item edges)
+\item Increase overlap (by hovering mouse either in a blank area or over one of
+the items and pressing \keys{Z} shortcut to mirror extend the item edges)
 \item Find transient in red left item that you want be edit point
 \item Place edit cursor just before it
-\item Drag green right item to align transients (this automatically ripples
-all items, markers and regions)
+\item Drag green right item to align transients (this automatically ripples all
+items, markers and regions)
 \item Press \keys{X} (classical crossfade)
 \end{enumerate}
 \begin{figure}
@@ -1402,25 +1329,24 @@ \subsection{Crossfade Editor}
 
 \end{figure}
 
-In reality, this process can be just a few seconds to achieve the
-perfect edit. In the unlikely event you need to undo, either use the
-standard \keys{\ctrl+Z} combination or simply extend the overlapping
-item edges again then create a new classical crossfade.
+In reality, this process can be just a few seconds to achieve the perfect edit.
+In the unlikely event you need to undo, either use the standard \keys{\ctrl+Z}
+combination or simply extend the overlapping item edges again then create a new
+classical crossfade.
 
 While you could use the auditioning tools in the dialog, I have created
-something I find quicker and more useful. While the two items involved
-in the crossfade are selected, try the following:
+something I find quicker and more useful. While the two items involved in the
+crossfade are selected, try the following:
 \begin{enumerate}
-\item Hover over left item / press \keys{A} to solo audition the left item
-from mouse cursor to end of item
-\item Hover over right item / press \keys{A} to solo audition the right
-item from start of item to mouse cursor
+\item Hover over left item / press \keys{A} to solo audition the left item from
+mouse cursor to end of item
+\item Hover over right item / press \keys{A} to solo audition the right item
+from start of item to mouse cursor
 \item Hover in blank space on left item side / press \keys{A} to solo audition
-the crossfade from mouse cursor to mirrored position on the other
-side of the crossfade
-\item Hover in blank space on right item side / press \keys{A} to solo
-audition the crossfade from mirrored position other side to the mouse
-cursor.
+the crossfade from mouse cursor to mirrored position on the other side of the
+crossfade
+\item Hover in blank space on right item side / press \keys{A} to solo audition
+the crossfade from mirrored position other side to the mouse cursor.
 \end{enumerate}
 \begin{figure}
 \includegraphics[width=1\linewidth]{\string"user_guide_images/xfade auditioning\string".png}
@@ -1429,150 +1355,135 @@ \subsection{Crossfade Editor}
 
 \end{figure}
 
-As you'll see, the playback stops using a special marker
-with {*}!1016{*} as the label which is executed as a stop command.
-It is deleted automatically after playback ends. If you try to run
-the function another time before it has finished, just select new
-instance if you get a pop-up box. You can stack instances and on completion
-of the latest run, all instances are removed. Better to experience
-than describe but it works really well. You'll also
-see that the edit cursor returns to the middle of the crossfade to
-aid in mouse scroll zooming keeping the crossfade centered. The mirrored
-position takes into consideration the overlap of the items so you
-can have a complicated set of fades and still get an exact mirrored
-stopping point.
-
-You can shuttle between crossfades using the \keys{Q} and \keys{W}
-shortcuts. Do \textbf{NOT} use the built-in Previous Next buttons
-on the standard fade dialog box! However, there is still a benefit
-of having the fade editor dialog in view. You can also tweak the fade
-using the knobs if you prefer. Center, Start, End and Length knobs
-are particularly useful here to maintain symmetry. Be aware that the
-Contents knobs will not ripple markers (but with the introduction
-of the Create CD Markers, I highly recommend not bothering to create
-any markers at this point).
+As you'll see, the playback stops using a special marker with {*}!1016{*} as the
+label which is executed as a stop command. It is deleted automatically after
+playback ends. If you try to run the function another time before it has
+finished, just select new instance if you get a pop-up box. You can stack
+instances and on completion of the latest run, all instances are removed. Better
+to experience than describe but it works really well. You'll also see that the
+edit cursor returns to the middle of the crossfade to aid in mouse scroll
+zooming keeping the crossfade centered. The mirrored position takes into
+consideration the overlap of the items so you can have a complicated set of
+fades and still get an exact mirrored stopping point.
+
+You can shuttle between crossfades using the \keys{Q} and \keys{W} shortcuts. Do
+\textbf{NOT} use the built-in Previous Next buttons on the standard fade dialog
+box! However, there is still a benefit of having the fade editor dialog in view.
+You can also tweak the fade using the knobs if you prefer. Center, Start, End
+and Length knobs are particularly useful here to maintain symmetry. Be aware
+that the Contents knobs will not ripple markers (but with the introduction of
+the Create CD Markers, I highly recommend not bothering to create any markers at
+this point).
 
 \subsection{Other Editing Tips}
 
-In my key map, I include all sorts of useful shortcuts to use during
-editing. As mentioned above, in vertical editing workflows, the Audition
-function \keys{A} is brilliant for listening to various takes before
-applying a razor or S/D edit. I can shuttle between items with \keys{Q}
-and \keys{W} (the same keys perform a more advanced role when in
-crossfade editor mode), shuttle between markers with \keys{,} and
-\keys{.} (the same keys with \keys{<} and \keys{>} on them on my
-UK keyboard), \keys{S} for splitting a long recorded session into
-takes, \keys{`} (back tick) and \keys{\ctrl+`} for zooming out to
-the whole project both horizontally and vertically etc. There are
-plenty more for the mastering end of things so I encourage you to
-explore.
-
-It is worth noting that all regular markers and regions are ripple
-edited appropriately when using my source-destination editing functions
-and crossfade editor. I also introduced the ReaClassical\_Lock Toggle
-function \keys{K} which temporarily locks all source groups and engages
-ripple-all-tracks mode to enable you to drag destination items and
-simultaneously ripple markers and regions in the regular arrange view.
-This allows vertical source groups to retain their independence yet
-still give ripple-all-tracks behavior which is useful for destination
-album track spacing etc. However, I consider this function deprecated
-given I strongly feel that the Create CD Markers function is now the
+In my key map, I include all sorts of useful shortcuts to use during editing. As
+mentioned above, in vertical editing workflows, the Audition function \keys{A}
+is brilliant for listening to various takes before applying a razor or S/D edit.
+I can shuttle between items with \keys{Q} and \keys{W} (the same keys perform a
+more advanced role when in crossfade editor mode), shuttle between markers with
+\keys{,} and \keys{.} (the same keys with \keys{<} and \keys{>} on them on my UK
+keyboard), \keys{S} for splitting a long recorded session into takes, \keys{`}
+(back tick) and \keys{\ctrl+`} for zooming out to the whole project both
+horizontally and vertically etc. There are plenty more for the mastering end of
+things so I encourage you to explore.
+
+It is worth noting that all regular markers and regions are ripple edited
+appropriately when using my source-destination editing functions and crossfade
+editor. I also introduced the ReaClassical\_Lock Toggle function \keys{K} which
+temporarily locks all source groups and engages ripple-all-tracks mode to enable
+you to drag destination items and simultaneously ripple markers and regions in
+the regular arrange view. This allows vertical source groups to retain their
+independence yet still give ripple-all-tracks behavior which is useful for
+destination album track spacing etc. However, I consider this function
+deprecated given I strongly feel that the Create CD Markers function is now the
 ultimate way to deal with CD tracks/markers.
 
 \section{Mixing}
 
 \subsection{FX Plugins}
 
-ReaClassical is shipped with various mastering-grade JSFX plugins
-to cover typical needs although obviously REAPER allows for any 3rd
-party plugins. For a list of recommended free plugins see Appendix
-C. In ReaClassical, you should add plugins to the dedicated mixer
-tracks. 
+ReaClassical is shipped with various mastering-grade JSFX plugins to cover
+typical needs although obviously REAPER allows for any 3rd party plugins. For a
+list of recommended free plugins see Appendix C. In ReaClassical, you should add
+plugins to the dedicated mixer tracks. 
 
 \subsection{Aux \& Submix}
 
-Users have the ability to create aux and/or submix tracks that stay
-visible (and stay after the mixer tracks). To set up, simply create
-a single folder via Horizontal Workflow \keys{F7} and/or Vertical
-Workflow \keys{F8} then create as many aux/submix tracks after the
-mixer tracks as you like via \keys{\#}. It is important to keep the
-@ or \# at the beginning of the track but you can add any name you'd
-like e.g. `@hall-verb', `\#strings'. To route, click-drag from
-a mixer track's routing stripes to the desired @ or \# track. When
-using any of the ReaClassical functions such as auditioning, these
-tracks will remain visible.
-
-For \# submix tracks, simply add a hyphen (-) at the end of desired
-track names in the mixer tracks and sync via \keys{F7} or \keys{F8}.
-Now those related mixer tracks will not route directly to RCMASTER.
-As an example, say mixer tracks 3-6 are all string section microphones
-and you'd like to sum them all to a string submix track called `\#strings'.
-Just add a hyphen to the end of the names for mixer tracks 3-6, sync
-and then create the routing to \#strings via click-dragging from the
-routing stripes. This routing is maintained during \keys{F7} or \keys{F8}
-syncs.
+Users have the ability to create aux and/or submix tracks that stay visible (and
+stay after the mixer tracks). To set up, simply create a single folder via
+Horizontal Workflow \keys{F7} and/or Vertical Workflow \keys{F8} then create as
+many aux/submix tracks after the mixer tracks as you like via \keys{\#}. It is
+important to keep the @ or \# at the beginning of the track but you can add any
+name you'd like e.g. `@hall-verb', `\#strings'. To route, click-drag from a
+mixer track's routing stripes to the desired @ or \# track. When using any of
+the ReaClassical functions such as auditioning, these tracks will remain
+visible.
+
+For \# submix tracks, simply add a hyphen (-) at the end of desired track names
+in the mixer tracks and sync via \keys{F7} or \keys{F8}. Now those related mixer
+tracks will not route directly to RCMASTER. As an example, say mixer tracks 3-6
+are all string section microphones and you'd like to sum them all to a string
+submix track called `\#strings'. Just add a hyphen to the end of the names for
+mixer tracks 3-6, sync and then create the routing to \#strings via
+click-dragging from the routing stripes. This routing is maintained during
+\keys{F7} or \keys{F8} syncs.
 
 \subsection{Roomtone}
 
-In a live concert recording that contains audience noise in between
-movements and applause at the end of a complete piece, it is often
-desirable to give the impression of a clean recording with no audience
-present. Recorded or generated room tone then becomes very important
-as an alternative to audio fading to complete digital silence which
-destroys the illusion of listening back to a live concert. ReaClassical
-includes a dedicated room tone track for this purpose. This way, the
-auditioning tool will keep the track displayed in both track and mixer
-panels. Add via \keys{\#}. Once added, you can add clean recorded
-noise captured before or after the concert or generate endless roomtone
-the length of your project from a very small portion of clean silence
-from the concert itself (hint: try using a white noise generator into
-a convolver such as ReaVerb that uses a few seconds of clean room
-tone as the impulse!). As of ReaClassical 24.12, the Create CD Markers
-function automatically generates precise volume automation at the
-track level to seamlessly fade in and out of room tone! See the mastering
-section for more details. Please not that there is a limit of one
+In a live concert recording that contains audience noise in between movements
+and applause at the end of a complete piece, it is often desirable to give the
+impression of a clean recording with no audience present. Recorded or generated
+room tone then becomes very important as an alternative to audio fading to
+complete digital silence which destroys the illusion of listening back to a live
+concert. ReaClassical includes a dedicated room tone track for this purpose.
+This way, the auditioning tool will keep the track displayed in both track and
+mixer panels. Add via \keys{\#}. Once added, you can add clean recorded noise
+captured before or after the concert or generate endless roomtone the length of
+your project from a very small portion of clean silence from the concert itself
+(hint: try using a white noise generator into a convolver such as ReaVerb that
+uses a few seconds of clean room tone as the impulse!). As of ReaClassical
+24.12, the Create CD Markers function automatically generates precise volume
+automation at the track level to seamlessly fade in and out of room tone! See
+the mastering section for more details. Please not that there is a limit of one
 reference track per project.
 
 \subsection{Reference Track}
 
-Add a reference track via \keys{\#} to allow for importing a commercial
-album track or similar to help achieve the desired loudness levels,
-EQing etc for your own material. The reference track is deliberately
-placed outside of the RCMASTER structure and can therefore be quickly
-auditioned independent of any effects you have on the mixer and RCMASTER
-tracks.
+Add a reference track via \keys{\#} to allow for importing a commercial album
+track or similar to help achieve the desired loudness levels, EQing etc for your
+own material. The reference track is deliberately placed outside of the RCMASTER
+structure and can therefore be quickly auditioned independent of any effects you
+have on the mixer and RCMASTER tracks.
 
 \subsection{Maintaining/Breaking Connections to RCMASTER}
 
-When adding special tracks via \keys{\#}, set \textquotedbl Maintain
-Mixer => RCMASTER\textquotedbl{} to 0 to add a hyphen (-) to the end
-of every mixer (``M:'') track thereby removing the direct connection
-to RCMASTER allowing for all sorts of custom routing via submixes
-etc. By default, the final option is always set to 1 to maintain the
-current routing.
+When adding special tracks via \keys{\#}, set \textquotedbl Maintain Mixer =>
+RCMASTER\textquotedbl{} to 0 to add a hyphen (-) to the end of every mixer
+(``M:'') track thereby removing the direct connection to RCMASTER allowing for
+all sorts of custom routing via submixes etc. By default, the final option is
+always set to 1 to maintain the current routing.
 
 \section{Mastering}
 
-Mastering in ReaClassical is game-changing. Many features described
-here are not available in any other classical DAW. I hope that the
-`ReaClassical' way saves you much time and helps you look forward
-to the mastering phase of the project. While automatic DDP generation,
-automatic room tone function, and professional album reports are the
-main features here, you will probably find the revolutionary automation
-mode is an extremely efficient way to add static mixer scenes across
-your production as well enjoying the ability to quickly reorder album
-tracks via a simple keyboard shortcuts.
+Mastering in ReaClassical is game-changing. Many features described here are not
+available in any other classical DAW. I hope that the `ReaClassical' way saves
+you much time and helps you look forward to the mastering phase of the project.
+While automatic DDP generation, automatic room tone function, and professional
+album reports are the main features here, you will probably find the
+revolutionary automation mode is an extremely efficient way to add static mixer
+scenes across your production as well enjoying the ability to quickly reorder
+album tracks via a simple keyboard shortcuts.
 
 \subsection{Mastering Mode}
 
-Change to mastering mode via the shortcut \keys{\ctrl+M}. In addition
-to making the mixer tracks, busses and RCMASTER available in the arrange
-window for setting static mixer scenes via envelope points, it also
-serves to de-clutter by hiding any source group audio. The hide and
-show child tracks shortcuts still work on the destination folder but
-in mastering mode also works on automation lanes. Simply select the
-relevant track connected to the lane and use the usual \keys{E} and
-\keys{D} keys to hide and show automation lanes. Look out for more
+Change to mastering mode via the shortcut \keys{\ctrl+M}. In addition to making
+the mixer tracks, busses and RCMASTER available in the arrange window for
+setting static mixer scenes via envelope points, it also serves to de-clutter by
+hiding any source group audio. The hide and show child tracks shortcuts still
+work on the destination folder but in mastering mode also works on automation
+lanes. Simply select the relevant track connected to the lane and use the usual
+\keys{E} and \keys{D} keys to hide and show automation lanes. Look out for more
 `mastering' mode features in the future.
 
 \begin{figure}
@@ -1586,79 +1497,74 @@ \subsection{Mastering Mode}
 \subsection{Automation}
 
 Given ReaClassical is built on top of REAPER, it allows for same high-quality
-automation workflow with a ReaClassical twist. Beyond the following
-workflow descriptions, it is recommended to read the relevant REAPER
-manual section as there are far more features than can be described
-here. For example, you can add static mixer and FX `scenes' to automation
-lanes (very useful for quickly setting up different settings for the
-various pieces on an album) . It makes most sense to leave any automation
-work until the destination group editing is largely complete. Start
-automation mode via \keys{\ctrl+I}. Mastering mode will be enabled
-automatically as needed. All the envelope buttons will turn blue (`latched
-preview') and you will see a message box with instructions. Simply
-set any desired mixer controls or parameters in an open FX window)
-on one or more tracks and press \keys{I} to enter the values as points
-on the automation lanes at the edit cursor position or, if one exists,
-within the time selection. Continue to add, edit or audition and once
-completed, exit `automation' mode via \keys{\ctrl+I}. The envelope
-buttons will then turn green (`read' mode). Hopefully this `ReaClassical'
-way can make things faster and easier at the same time. Once multiple
-static mixes have been set up, you can then, of course, use more detailed
-automation via the pencil tool or riding the fader to, for example,
-temporarily bring up spot microphones. 
+automation workflow with a ReaClassical twist. Beyond the following workflow
+descriptions, it is recommended to read the relevant REAPER manual section as
+there are far more features than can be described here. For example, you can add
+static mixer and FX `scenes' to automation lanes (very useful for quickly
+setting up different settings for the various pieces on an album) . It makes
+most sense to leave any automation work until the destination group editing is
+largely complete. Start automation mode via \keys{\ctrl+I}. Mastering mode will
+be enabled automatically as needed. All the envelope buttons will turn blue
+(`latched preview') and you will see a message box with instructions. Simply set
+any desired mixer controls or parameters in an open FX window) on one or more
+tracks and press \keys{I} to enter the values as points on the automation lanes
+at the edit cursor position or, if one exists, within the time selection.
+Continue to add, edit or audition and once completed, exit `automation' mode via
+\keys{\ctrl+I}. The envelope buttons will then turn green (`read' mode).
+Hopefully this `ReaClassical' way can make things faster and easier at the same
+time. Once multiple static mixes have been set up, you can then, of course, use
+more detailed automation via the pencil tool or riding the fader to, for
+example, temporarily bring up spot microphones. 
 
 In addition, there are also take envelopes that you can access via
-right-clicking on an item and going to \menu{Take > Take Volume Envelope}.
-This is incredibly useful for transparently reducing very short stray
-peaks versus using a limiter. Simply create a selection over the problematic
-area by left-click-dragging and then \keys{\ctrl+\shift} and drag
-up or down to just affect that portion of the envelope without needing
-to add in individual points. It's such a time-saver! The benefit here
-is that you can also see how the item waveform is affected in real
-time.
+right-clicking on an item and going to \menu{Take > Take Volume Envelope}. This
+is incredibly useful for transparently reducing very short stray peaks versus
+using a limiter. Simply create a selection over the problematic area by
+left-click-dragging and then \keys{\ctrl+\shift} and drag up or down to just
+affect that portion of the envelope without needing to add in individual points.
+It's such a time-saver! The benefit here is that you can also see how the item
+waveform is affected in real time.
 
 If you want to exit both automation and mastering modes, press \keys{\ctrl+M}.
 
 \subsection{Repositioning Tracks in an Album}
 
-There are two functions which help with reordering or repositioning
-tracks. First, and perhaps most useful for producing a classical album,
-is if you decide that you need to reorder one or tracks. Simply select
-the track you want to move and press either \keys{\ctrl+\arrowkeyleft}or
-\keys{\ctrl+\arrowkeyright} to switch with the track immediately
-to the left or right. Note that gaps are preserved too. 
+There are two functions which help with reordering or repositioning tracks.
+First, and perhaps most useful for producing a classical album, is if you decide
+that you need to reorder one or tracks. Simply select the track you want to move
+and press either \keys{\ctrl+\arrowkeyleft}or \keys{\ctrl+\arrowkeyright} to
+switch with the track immediately to the left or right. Note that gaps are
+preserved too. 
 
-The other situation is when you want to start with uniform gaps between
-a series of short separate pieces. Use the \keys{\ctrl+Y} shortcut
-and enter a value in seconds. Your pieces are then automatically spaced
-and items crossfaded are left intact.
+The other situation is when you want to start with uniform gaps between a series
+of short separate pieces. Use the \keys{\ctrl+Y} shortcut and enter a value in
+seconds. Your pieces are then automatically spaced and items crossfaded are left
+intact.
 
 \subsection{Loudness}
 
-In terms of loudness, I personally aim for about -18 LUFS Integrated
-for my classical albums though it can be as high as -16 LUFS and as
-low as -20 LUFS. The new loudness JSFX meter in REAPER along with
-the normalization of loudness and true-peak limiting in the render
-dialog are priceless. It's another reason I couldn't
-go back to the big classical DAWs at this point.
+In terms of loudness, I personally aim for about -18 LUFS Integrated for my
+classical albums though it can be as high as -16 LUFS and as low as -20 LUFS.
+The new loudness JSFX meter in REAPER along with the normalization of loudness
+and true-peak limiting in the render dialog are priceless. It's another reason I
+couldn't go back to the big classical DAWs at this point.
 
 \subsection{Metadata}
 
-At this stage, the only items present in the destination folder should
-be those comprising the final album. If working in horizontal workflow
-mode up to this point, drag any source material to new group by first
-creating an empty duplicate folder via \keys{\textbackslash}. To
-quickly remove all the take names on the destination parent track,
-run \keys{\ctrl+T}. Track titles are then added to the individual
-items on the destination parent track by double-clicking on the item
-or selecting and pressing \keys{F2}. Note that only items that start
+At this stage, the only items present in the destination folder should be those
+comprising the final album. If working in horizontal workflow mode up to this
+point, drag any source material to new group by first creating an empty
+duplicate folder via \keys{\textbackslash}. To quickly remove all the take names
+on the destination parent track, run \keys{\ctrl+T}. Track titles are then added
+to the individual items on the destination parent track by double-clicking on
+the item or selecting and pressing \keys{F2}. Note that only items that start
 tracks should be named. 
 
 The rest of the metadata is then added via the Create CD Markers function
-\keys{Y}. You can add UPC/EAN and ISRC numbers as desired followed
-by album title, performer, composer and genre. The Markers to CUE
-function \keys{C} will take as much information as it can from the
-saved DDP metadata but the user is free to change as desired.
+\keys{Y}. You can add UPC/EAN and ISRC numbers as desired followed by album
+title, performer, composer and genre. The Markers to CUE function \keys{C} will
+take as much information as it can from the saved DDP metadata but the user is
+free to change as desired.
 
 \begin{figure}
 \begin{centering}
@@ -1671,57 +1577,53 @@ \subsection{Metadata}
 
 \subsection{Creating DDP filesets}
 
-I have introduced a workflow to automatically add the CD/DDP markers,
-regions and room tone automation via \keys{Y} (track and region names
-are pulled from item take names, markers/regions auto-snap to CD frames,
-initial 2-second pre-gap, silent roll out and album metadata also
-added!) . It is \textquoteleft smart\textquoteright{} in the sense
-that if there's no take name, no marker or region will
-be created. In other words, press \keys{F2} with an item selected
-to enter track names where markers/regions need to be created. It's
-perfect for classical releases where a crossfaded item is likely an
-internal source-destination edit versus a new track. For CD tracks
-that you want to have a visual CD player countdown, simply start the
-item name with an exclamation (!). Preferences such as CD marker offset,
-pre-gap length and album lead-out can be set via ReaClassical Project
-Preferences \keys{F5} . So it's now very quick to
-export a DDP set! 
-
-Further, you can add audio to the initial pre-gap (an `easter egg'
-track) by not giving the first item (or crossfaded items) a take name.
-The function will assume that this is supposed to be hidden and generate
-the initial pre-gap length accordingly. 
-
-If a room tone track is present in the project, the function will
-also generate precise track-level volume automation that creates perfectly-matching
-fades at points where items fade into and out of silence on the first
-destination track. In other words, slicing and dicing room tone audio
-to fill in digital silence is no longer necessary in ReaClassical!
-
-For more information read the description of the DDP function in appendix
-A.
+I have introduced a workflow to automatically add the CD/DDP markers, regions
+and room tone automation via \keys{Y} (track and region names are pulled from
+item take names, markers/regions auto-snap to CD frames, initial 2-second
+pre-gap, silent roll out and album metadata also added!) . It is \textquoteleft
+smart\textquoteright{} in the sense that if there's no take name, no marker or
+region will be created. In other words, press \keys{F2} with an item selected to
+enter track names where markers/regions need to be created. It's perfect for
+classical releases where a crossfaded item is likely an internal
+source-destination edit versus a new track. For CD tracks that you want to have
+a visual CD player countdown, simply start the item name with an exclamation
+(!). Preferences such as CD marker offset, pre-gap length and album lead-out can
+be set via ReaClassical Project Preferences \keys{F5} . So it's now very quick
+to export a DDP set! 
+
+Further, you can add audio to the initial pre-gap (an `easter egg' track) by not
+giving the first item (or crossfaded items) a take name. The function will
+assume that this is supposed to be hidden and generate the initial pre-gap
+length accordingly. 
+
+If a room tone track is present in the project, the function will also generate
+precise track-level volume automation that creates perfectly-matching fades at
+points where items fade into and out of silence on the first destination track.
+In other words, slicing and dicing room tone audio to fill in digital silence is
+no longer necessary in ReaClassical!
+
+For more information read the description of the DDP function in appendix A.
 
 \subsection{Creating CUE Files}
 
-A CUE file can be generated via \keys{C} (no need create a time selection).
-The high-resolution audio portion can be generated separately in the
-render dialog via the preset. 
+A CUE file can be generated via \keys{C} (no need create a time selection). The
+high-resolution audio portion can be generated separately in the render dialog
+via the preset. 
 
 \subsection{BIN+CUE set}
 
-Create a BIN/CUE pair (either select `regions define tracks\textquoteright{}
-and render the whole project or select `use only \# markers' and
-render by time selection if you don't want the first
-pre-gap as actual silence at the start of track 1). 
+Create a BIN/CUE pair (either select `regions define tracks\textquoteright{} and
+render the whole project or select `use only \# markers' and render by time
+selection if you don't want the first pre-gap as actual silence at the start of
+track 1). 
 
 \subsection{Album Reports}
 
-When using the \keys{C} shortcut, ReaClassical also generates both
-a plain text and HTML album report in the project folder including
-details such as pre-gaps, track title, start time, track length, UPC/EAN
-and ISRC (if present), total running time etc. This is a fantastic
-and automatic way to send information to clients or a duplication/replication
-factory.
+When using the \keys{C} shortcut, ReaClassical also generates both a plain text
+and HTML album report in the project folder including details such as pre-gaps,
+track title, start time, track length, UPC/EAN and ISRC (if present), total
+running time etc. This is a fantastic and automatic way to send information to
+clients or a duplication/replication factory.
 
 \begin{figure}
 \includegraphics[width=1\linewidth]{user_guide_images/html_album_report}
@@ -1735,15 +1637,14 @@ \section{Rendering}
 
 \subsection{Presets}
 
-ReaClassical includes various rendering presets to make rendering
-extremely quick and easy. In the Render dialog \keys{R}, click on
-the presets button then `All Settings'. The preset names are self-explanatory.
-The first four entries are for exporting a whole album as a single
-audio file. The remaining use the automatically created regions after
-using the Create CD Markers function \keys{Y} to create automatically
-named folders of audio files, one per CD track. After selecting a
-preset, you should feel free to change any render settings and perhaps
-save as a new preset for future use. By default, the presets use the
+ReaClassical includes various rendering presets to make rendering extremely
+quick and easy. In the Render dialog \keys{R}, click on the presets button then
+`All Settings'. The preset names are self-explanatory. The first four entries
+are for exporting a whole album as a single audio file. The remaining use the
+automatically created regions after using the Create CD Markers function
+\keys{Y} to create automatically named folders of audio files, one per CD track.
+After selecting a preset, you should feel free to change any render settings and
+perhaps save as a new preset for future use. By default, the presets use the
 built-in REAPER standard triangular dither.
 
 \begin{figure}
@@ -1758,133 +1659,122 @@ \subsection{Presets}
 \subsection{Samplerate}
 
 Now that r8brain free has been introduced as the best quality resampler
-available in REAPER (I highly recommend double-checking that it is
-selected when resampling at render time) I feel I can do everything,
-including DDP creation, without leaving my favorite DAW. However,
-the Marker to CUE function \keys{C} is still useful for all sorts
-of things and I often create FLAC + CUE for album playback in my media
-player or WAV + CUE to easily burn a CD at home.
+available in REAPER (I highly recommend double-checking that it is selected when
+resampling at render time) I feel I can do everything, including DDP creation,
+without leaving my favorite DAW. However, the Marker to CUE function \keys{C} is
+still useful for all sorts of things and I often create FLAC + CUE for album
+playback in my media player or WAV + CUE to easily burn a CD at home.
 
 \subsection{Dither}
 
-Use either the built-in REAPER dither options or RCDither as the last
-plugin on the master chain. If using RCDither or any other 3rd-party
-dither be sure to keep the master fader at unity and disable all REAPER
-dither checkboxes.
+Use either the built-in REAPER dither options or RCDither as the last plugin on
+the master chain. If using RCDither or any other 3rd-party dither be sure to
+keep the master fader at unity and disable all REAPER dither checkboxes.
 
 \subsection{Loudness \& Limiting}
 
-REAPER has a fantastic rendering feature which allows the user to
-set a desired loudness and peak / true peak setting. For quick exports
-that need to meet certain targets (i.e. streaming) this makes things
-extremely efficient and is very transparent when not set to extreme
-values.
+REAPER has a fantastic rendering feature which allows the user to set a desired
+loudness and peak / true peak setting. For quick exports that need to meet
+certain targets (i.e. streaming) this makes things extremely efficient and is
+very transparent when not set to extreme values.
 
 \subsection{Dry-run Rendering}
 
-Another REAPER feature that is outstanding is the dry-run render function
-which allows for very quick offline loudness and peak checks and much
-faster than using REAPER's included realtime loudness meter. It is
-therefore extremely easy to set up compressors, limiters etc in the
-project and make small adjustments based on the dry-run values and
-maintain complete control over the process. 
+Another REAPER feature that is outstanding is the dry-run render function which
+allows for very quick offline loudness and peak checks and much faster than
+using REAPER's included realtime loudness meter. It is therefore extremely easy
+to set up compressors, limiters etc in the project and make small adjustments
+based on the dry-run values and maintain complete control over the process. 
 
 \subsection{Other Rendering Tips}
 
-Not necessarily obvious to new REAPER users are the special =START
-and =END markers (make your markers in the usual way and label them
-accordingly) that constrain the length of the project. Rather than
-rely on extended silence at the end of items or time selections, the
-=END marker is a great way to ensure you have the exact amount of
-lead-out you want at the end of the disc. Positioning both special
-markers is great way to generate files for multi-disc releases without
-having to rely on multiple projects.
+Not necessarily obvious to new REAPER users are the special =START and =END
+markers (make your markers in the usual way and label them accordingly) that
+constrain the length of the project. Rather than rely on extended silence at the
+end of items or time selections, the =END marker is a great way to ensure you
+have the exact amount of lead-out you want at the end of the disc. Positioning
+both special markers is great way to generate files for multi-disc releases
+without having to rely on multiple projects.
 
 You will hopefully notice I have included various shortcuts for manually
-creating regions (single or multiple) from items and time selection
-(great for quickly generating demo snippets). Also worth noting is
-that you can still do some (or all!) of your source-destination editing
-with your track markers in place as the S/D markers have IDs far higher
-than any classical CD would have and are automatically deleted after
-a successful edit. As long as you have your ripple-per-track mode
-engaged, all your existing marker placements and carefully crafted
-edits will remain intact. But, again, don't manually
-create CD markers at this point as I include a very powerful tool
-to make light work of that side of mastering.
+creating regions (single or multiple) from items and time selection (great for
+quickly generating demo snippets). Also worth noting is that you can still do
+some (or all!) of your source-destination editing with your track markers in
+place as the S/D markers have IDs far higher than any classical CD would have
+and are automatically deleted after a successful edit. As long as you have your
+ripple-per-track mode engaged, all your existing marker placements and carefully
+crafted edits will remain intact. But, again, don't manually create CD markers
+at this point as I include a very powerful tool to make light work of that side
+of mastering.
 
 \section{Project Management}
 
 \subsection{Typing Notes}
 
-Document your takes either using the built-in REAPER project notes
-or SWS Notes \keys{N} (for `Notes') which can be attached to items,
-tracks, markers etc. I personally prefer item notes on the main microphone
-pair. It's a very useful tool to have docked at the
-bottom of the screen.
+Document your takes either using the built-in REAPER project notes or SWS Notes
+\keys{N} (for `Notes') which can be attached to items, tracks, markers etc. I
+personally prefer item notes on the main microphone pair. It's a very useful
+tool to have docked at the bottom of the screen.
 
 \subsection{Folder Structure}
 
-ReaClassical defaults to placing media and exports into appropriately
-subfolders making project file navigation easier. Also, ReaClassical
-defaults to separate folders for automatic backups and auto-saves.
-These settings are subject to change and can be modified by going
-to the REAPER preferences \keys{O} (for `Options').
+ReaClassical defaults to placing media and exports into appropriately subfolders
+making project file navigation easier. Also, ReaClassical defaults to separate
+folders for automatic backups and auto-saves. These settings are subject to
+change and can be modified by going to the REAPER preferences \keys{O} (for
+`Options').
 
 \subsection{Automatic Backups}
 
-REAPER allows for powerful and complex backup routines. As referenced
-above, ReaClassical defaults to 10 time-stamped backups and 10 auto-saves
-every 15 minutes when not recording. Feel free to modify for your
-own way of working including switching to backups and auto saves for
-a number of unique days.
+REAPER allows for powerful and complex backup routines. As referenced above,
+ReaClassical defaults to 10 time-stamped backups and 10 auto-saves every 15
+minutes when not recording. Feel free to modify for your own way of working
+including switching to backups and auto saves for a number of unique days.
 
 \subsection{Cleaning}
 
-If in doubt, keep everything! Otherwise, the \menu{File > Clean current project directory}
-is an excellent way to reduce the size of your projects. Note that
-when assigning a session name via the Take Counter Window, currently
-the above REAPER menu item doesn't search recursively. In a way, this
-reduces the chances of accidentally deleting precious takes. You can
-always manually delete but, from experience, it is \emph{much} better
-to simply keep everything.
+If in doubt, keep everything! Otherwise, the \menu{File > Clean current project
+directory} is an excellent way to reduce the size of your projects. Note that
+when assigning a session name via the Take Counter Window, currently the above
+REAPER menu item doesn't search recursively. In a way, this reduces the chances
+of accidentally deleting precious takes. You can always manually delete but,
+from experience, it is \emph{much} better to simply keep everything.
 
 \subsection{Archiving}
 
-There are various ways to archive classical music projects. First,
-you can access the Project Bay by \keys{\ctrl+B} shortcut. You can
-then ensure that all media used in the project is contained within
-the project folder itself. If not, you can select as many as necessary,
-right click and move/copy into the project folder. After this, you
-can simply compress the folder as a zip and store on an external drive.
-A further step to guaranteeing ability to open in the future is to
-freeze tracks so that plugin effects are baked in (with ability to
-unfreeze later if possible). Alternatively you can save a copy of
-the project via \menu{File > Save project as...} \emph{,} converting
-to a format like FLAC and trimming the media as you wish. Finally,
-one to look out for in the future is \href{https://forum.cockos.com/showthread.php?t=280150}{Project Archiver}.
-However, I don't believe it is quite ready for prime-time yet and
-recommend using one of the other methods for now.\pagebreak{}
+There are various ways to archive classical music projects. First, you can
+access the Project Bay by \keys{\ctrl+B} shortcut. You can then ensure that all
+media used in the project is contained within the project folder itself. If not,
+you can select as many as necessary, right click and move/copy into the project
+folder. After this, you can simply compress the folder as a zip and store on an
+external drive. A further step to guaranteeing ability to open in the future is
+to freeze tracks so that plugin effects are baked in (with ability to unfreeze
+later if possible). Alternatively you can save a copy of the project via
+\menu{File > Save project as...} \emph{,} converting to a format like FLAC and
+trimming the media as you wish. Finally, one to look out for in the future is
+\href{https://forum.cockos.com/showthread.php?t=280150}{Project Archiver}.
+However, I don't believe it is quite ready for prime-time yet and recommend
+using one of the other methods for now.\pagebreak{}
 
 \part{End Matter}
 
 \section{Thanks}
-\noindent\begin{flushleft}
-I am appreciative of the collective contributions of the REAPER community
-with regards the early source-destination actions (Pelleke, in particular),
-MPL, X-Raym, BirdBird, RCJacH, Sai'ke, Meo-Ada Mespotine, cfillion
-and many more. Finally, many thanks to Justin and Schwa for such an
-amazingly versatile DAW.
-\par\end{flushleft}
+\noindent\begin{flushleft} I am appreciative of the collective contributions of
+the REAPER community with regards the early source-destination actions (Pelleke,
+in particular), MPL, X-Raym, BirdBird, RCJacH, Sai'ke, Meo-Ada Mespotine,
+cfillion and many more. Finally, many thanks to Justin and Schwa for such an
+amazingly versatile DAW. \par\end{flushleft}
 
 \section{Closing Thoughts}
-\noindent\begin{flushleft}
-I hope you enjoy the ability to do serious classical editing with
-ReaClassical on REAPER and that my efforts go some way to making things
-better, easier and more efficient. Remember that if you find any oddities
-with the functions or have a bright idea for something new and shiny,
-please add your thoughts to the \href{https://forum.cockos.com/showthread.php?t=265145}{dedicated thread}
-on the forums and/or create an issue or start a discussion on my GitHub
-repository located at \href{https://github.com/chmaha/ReaClassical}{https://github.com/chmaha/ReaClassical}. 
+\noindent\begin{flushleft} I hope you enjoy the ability to do serious classical
+editing with ReaClassical on REAPER and that my efforts go some way to making
+things better, easier and more efficient. Remember that if you find any oddities
+with the functions or have a bright idea for something new and shiny, please add
+your thoughts to the
+\href{https://forum.cockos.com/showthread.php?t=265145}{dedicated thread} on the
+forums and/or create an issue or start a discussion on my GitHub repository
+located at
+\href{https://github.com/chmaha/ReaClassical}{https://github.com/chmaha/ReaClassical}.
 \par\end{flushleft}
 
 \pagebreak{}
@@ -1895,206 +1785,188 @@ \part{Appendices}
 
 \section{Description of ReaClassical Functions}
 
-\emph{Preliminary Note: }These proceed in a quasi-workflow order.
-I include the default shortcut keys if using my portable install or
-resource folder base. You can also use the custom toolbar via the
-mouse. 
+\emph{Preliminary Note: }These proceed in a quasi-workflow order. I include the
+default shortcut keys if using my portable install or resource folder base. You
+can also use the custom toolbar via the mouse. 
 
 \textbf{Create/Sync Horizontal Workflow }\keys{F7}
 
-\emph{Description: }The way to create a horizontal workflow with a
-single folder group with as many tracks as you need. It can also be
-used with an single existing folder group to re-sync track names and
-re-build project routing.
+\emph{Description: }The way to create a horizontal workflow with a single folder
+group with as many tracks as you need. It can also be used with an single
+existing folder group to re-sync track names and re-build project routing.
 
-\emph{Notes: }Use on a completely empty project. I would use this
-if you are planning to use a horizontal approach to source-destination
-editing (i.e. the various takes are laid out from left to right) or
-if you want a quick way to set up a mixing/mastering track set with
-a single take. The function automatically sets up the tracks for group
-media and razor-editing along with dedicated mixer tracks. These mixer
-tracks should be used for all track settings (names, volume, pan,
-polarity, sends and FX).
+\emph{Notes: }Use on a completely empty project. I would use this if you are
+planning to use a horizontal approach to source-destination editing (i.e. the
+various takes are laid out from left to right) or if you want a quick way to set
+up a mixing/mastering track set with a single take. The function automatically
+sets up the tracks for group media and razor-editing along with dedicated mixer
+tracks. These mixer tracks should be used for all track settings (names, volume,
+pan, polarity, sends and FX).
 
 \textbf{Create/Sync Vertical Workflow }\keys{F8}
 
-\emph{Description: }A multi-use function to 1) set up a vertical workflow
-with destination and source groups with as many tracks as you need,
-2) to create source groups from an existing destination folder group
-(for example, created with \keys{F7} shortcut) and, for in the middle
-of editing, 3) to (re)create project routing and sync track-naming,
-record inputs and lock states. Note that for 3), all folders should
-contain the same number of tracks.
+\emph{Description: }A multi-use function to 1) set up a vertical workflow with
+destination and source groups with as many tracks as you need, 2) to create
+source groups from an existing destination folder group (for example, created
+with \keys{F7} shortcut) and, for in the middle of editing, 3) to (re)create
+project routing and sync track-naming, record inputs and lock states. Note that
+for 3), all folders should contain the same number of tracks.
 
-\emph{Notes: }For all track settings (names, volume, pan, polarity,
-sends and FX) you should use the dedicated mixer tracks.
+\emph{Notes: }For all track settings (names, volume, pan, polarity, sends and
+FX) you should use the dedicated mixer tracks.
 
 \textbf{Explode multi-channel item }\keys{F10}
 
-\emph{Description:} Explode multi-channel item(s) to either all mono
-or stereo-interleaved + mono
-
-\emph{Notes:} Import your multi-channel media using a single regular
-track (for a horizontal workflow) or multiple regular tracks (for
-a vertical workflow). Then, simply press \keys{F10} (no need to select
-the items). Answer yes to the prompt that appears if the first two
-channels should be treated as stereo interleaved (i.e. they represent
-your main pair). Depending on the choice made, the number of tracks
-in the resulting folder(s) will adjust accordingly. If the user selects
-\textquoteleft no\textquoteright{} to keep all tracks mono, the folder
-track is left empty so that the Prepare Takes \keys{T} function is
-able to create a muted guide track (more on this later!). Then you
-are given the opportunity to name your tracks. Obviously if you decide
-to move to a vertical workflow after exploding using a single track,
-you can always use \keys{F8} to create your source folders then drag
-the media to where you want them. If you need to bring in new takes
-after editing has started, simply use the function on an empty project
-tab then copy or cut them into the original project tab into the desired
-folder on the timeline.
+\emph{Description:} Explode multi-channel item(s) to either all mono or
+stereo-interleaved + mono
+
+\emph{Notes:} Import your multi-channel media using a single regular track (for
+a horizontal workflow) or multiple regular tracks (for a vertical workflow).
+Then, simply press \keys{F10} (no need to select the items). Answer yes to the
+prompt that appears if the first two channels should be treated as stereo
+interleaved (i.e. they represent your main pair). Depending on the choice made,
+the number of tracks in the resulting folder(s) will adjust accordingly. If the
+user selects \textquoteleft no\textquoteright{} to keep all tracks mono, the
+folder track is left empty so that the Prepare Takes \keys{T} function is able
+to create a muted guide track (more on this later!). Then you are given the
+opportunity to name your tracks. Obviously if you decide to move to a vertical
+workflow after exploding using a single track, you can always use \keys{F8} to
+create your source folders then drag the media to where you want them. If you
+need to bring in new takes after editing has started, simply use the function on
+an empty project tab then copy or cut them into the original project tab into
+the desired folder on the timeline.
 
 \textbf{Add special track(s) }\keys{\#}
 
-\emph{Description: }Adds one or more special tracks (aux, submix,
-roomtone, reference)
-
-\emph{Notes: }ReaClassical projects can have any number of special
-tracks but are limited to a single roomtone track. See below for details
-of each kind of track.
-
-\textsc{Aux send}: Add a rosewood-colored aux track prefixed with an
-ampersand (@) to the end of the track list but is only visible in
-the mixer. This allows the user to keep assigned aux tracks visible
-in the intelligent mixer. Create any connections to the aux in the
-destination group (including child tracks) and then push to the source
-groups via the Vertical Workflow function \keys{F8} . This routing
-is maintained during subsequent \keys{F7} or \keys{F8} syncs. Set
-\textquotedbl Maintain Mixer => RCMASTER\textquotedbl{} to 0 to add
-a hyphen (-) to the end of every mixer track thereby removing the
-direct connection to RCMASTER allowing for all sorts of nice custom
-routing. By default the final option is always set to 1 to maintain
-whatever routing you currently have.
-
-\textsc{Submix}: Add a teal-colored aux track prefixed with an hash
-(\#) to the end of the track list but is only visible in the mixer.
-This allows the user to keep assigned submix tracks visible in the
-intelligent mixer. Create any connections to the submix in the destination
-group (including child tracks) and then push to the source groups
-via the Vertical Workflow function \keys{F8} . For correct routing
-to a submix (versus a send), simply add a hyphen (-) at the end of
-desired track names in the mixer tracks and sync via \keys{F7} or
-\keys{F8}. Now those related mixer tracks will not route directly
-to RCMASTER. As an example, say tracks 3-6 are all string section
-microphones and you'd like to first sum them all to a string submix
-track called `\#strings'. Just add a hyphen to the end of the names
-for tracks 3-6, sync and then create the routing to \#strings via
-click-dragging from the routing stripes. This routing is maintained
-during subsequent \keys{F7} or \keys{F8} syncs.
+\emph{Description: }Adds one or more special tracks (aux, submix, roomtone,
+reference)
 
-\textsc{Room tone}: Add a burnt sienna-colored aux/submix track labeled
-`RoomTone' to the end of the track list that is visible in both
-the track and mixer panels. The track will be included in the signal
-path via the regular audition function \keys{A}. If present when
-creating CD/DDP via the function will also generate volume automation
-to create perfect crossfades with the items on the first destination
-track. Slicing and dicing room tone audio to fill in digital silence
-is now a thing of the past. Simply add a long recorded or convolution-generated
-room tone audio item before running the function. The ReaClassical
-way of dealing with room tone is non-destructive and instant! 
+\emph{Notes: }ReaClassical projects can have any number of special tracks but
+are limited to a single roomtone track. See below for details of each kind of
+track.
+
+\textsc{Aux send}: Add a rosewood-colored aux track prefixed with an ampersand
+(@) to the end of the track list but is only visible in the mixer. This allows
+the user to keep assigned aux tracks visible in the intelligent mixer. Create
+any connections to the aux in the destination group (including child tracks) and
+then push to the source groups via the Vertical Workflow function \keys{F8} .
+This routing is maintained during subsequent \keys{F7} or \keys{F8} syncs. Set
+\textquotedbl Maintain Mixer => RCMASTER\textquotedbl{} to 0 to add a hyphen (-)
+to the end of every mixer track thereby removing the direct connection to
+RCMASTER allowing for all sorts of nice custom routing. By default the final
+option is always set to 1 to maintain whatever routing you currently have.
+
+\textsc{Submix}: Add a teal-colored aux track prefixed with an hash (\#) to the
+end of the track list but is only visible in the mixer. This allows the user to
+keep assigned submix tracks visible in the intelligent mixer. Create any
+connections to the submix in the destination group (including child tracks) and
+then push to the source groups via the Vertical Workflow function \keys{F8} .
+For correct routing to a submix (versus a send), simply add a hyphen (-) at the
+end of desired track names in the mixer tracks and sync via \keys{F7} or
+\keys{F8}. Now those related mixer tracks will not route directly to RCMASTER.
+As an example, say tracks 3-6 are all string section microphones and you'd like
+to first sum them all to a string submix track called `\#strings'. Just add a
+hyphen to the end of the names for tracks 3-6, sync and then create the routing
+to \#strings via click-dragging from the routing stripes. This routing is
+maintained during subsequent \keys{F7} or \keys{F8} syncs.
 
-\textsc{Reference}: Add a reference track labeled `REF' to the end
-of the track list that is visible in both the track and mixer panels.
-If you rename, a `REF:' is automatically added. The track will be
-placed outside of RCMASTER signal path and easily auditioned via \keys{A}. 
+\textsc{Room tone}: Add a burnt sienna-colored aux/submix track labeled
+`RoomTone' to the end of the track list that is visible in both the track and
+mixer panels. The track will be included in the signal path via the regular
+audition function \keys{A}. If present when creating CD/DDP via the function
+will also generate volume automation to create perfect crossfades with the items
+on the first destination track. Slicing and dicing room tone audio to fill in
+digital silence is now a thing of the past. Simply add a long recorded or
+convolution-generated room tone audio item before running the function. The
+ReaClassical way of dealing with room tone is non-destructive and instant! 
+
+\textsc{Reference}: Add a reference track labeled `REF' to the end of the track
+list that is visible in both the track and mixer panels. If you rename, a `REF:'
+is automatically added. The track will be placed outside of RCMASTER signal path
+and easily auditioned via \keys{A}. 
 
 \textbf{Hide and Show child tracks / automation lanes }\keys{E} and
 \keys{D}
 
-\emph{Description: }Hide child tracks to save screen estate and for
-working with multi-channel takes as if working with just stereo. In
-`mastering' mode, the shortcuts also work for hiding and showing
-automation lanes.
+\emph{Description: }Hide child tracks to save screen estate and for working with
+multi-channel takes as if working with just stereo. In `mastering' mode, the
+shortcuts also work for hiding and showing automation lanes.
 
-\emph{Notes: }Select a folder track and press \keys{E} to hide the
-children or \keys{D} to show them. All S-D and razor editing functions
-work perfectly while folder groups are collapsed. This recreates a
-popular way of working with classical music takes in Pyramix. In `mastering'
-mode, select a track containing automation lanes and press \keys{E}
-to hide the automation lanes or \keys{D} to show them.
+\emph{Notes: }Select a folder track and press \keys{E} to hide the children or
+\keys{D} to show them. All S-D and razor editing functions work perfectly while
+folder groups are collapsed. This recreates a popular way of working with
+classical music takes in Pyramix. In `mastering' mode, select a track containing
+automation lanes and press \keys{E} to hide the automation lanes or \keys{D} to
+show them.
 
 \textbf{Take Counter Window} \keys{\ctrl+\enter}
 
 \emph{Description:} Track take numbers and session name during recording
 sessions. Schedule recordings by start/end time or duration.
 
-\emph{Notes:} The window will also open automatically with Classical
-Take Record (\keys{F9}) if not already running. It is advised to
-save your project and name your tracks before starting to record.
-This ensures that the recorded files have usefully unique names. You
-can right-click on the window to override automatic take numbering
-(0 = off (recommended), 1 = override), set a take number to increment
-from and optionally set a session name to act as media subfolder.
-You can left-click to recalculate the track count if you have removed
-some unused files from the project path. The calculated upcoming take
-number factors in unused files in the project path so as to avoid
-any file-naming conflicts. You should find this to be an extremely
-robust take system that rivals Pyramix, Sequoia etc. To schedule a
-recording or limit by duration, right-click on the take counter window
-and add the appropriate entry or entries in HH:MM format. After pressing
-OK, the take counter window will display information to the right
-of the take number. If you enter a start or end time earlier or equal
-to the current time, the function will assume a next day schedule
-and will annotate the time with an asterisk ({*}). Likewise, with
-both a start and end time, if the end time is earlier than or equal
-to start, it will assume a time 24 hours later. Don't forget to arm
-your tracks before walking away!
+\emph{Notes:} The window will also open automatically with Classical Take Record
+(\keys{F9}) if not already running. It is advised to save your project and name
+your tracks before starting to record. This ensures that the recorded files have
+usefully unique names. You can right-click on the window to override automatic
+take numbering (0 = off (recommended), 1 = override), set a take number to
+increment from and optionally set a session name to act as media subfolder. You
+can left-click to recalculate the track count if you have removed some unused
+files from the project path. The calculated upcoming take number factors in
+unused files in the project path so as to avoid any file-naming conflicts. You
+should find this to be an extremely robust take system that rivals Pyramix,
+Sequoia etc. To schedule a recording or limit by duration, right-click on the
+take counter window and add the appropriate entry or entries in HH:MM format.
+After pressing OK, the take counter window will display information to the right
+of the take number. If you enter a start or end time earlier or equal to the
+current time, the function will assume a next day schedule and will annotate the
+time with an asterisk ({*}). Likewise, with both a start and end time, if the
+end time is earlier than or equal to start, it will assume a time 24 hours
+later. Don't forget to arm your tracks before walking away!
 
 \textbf{Classical Take Record }\keys{F9}
 
-\emph{Description:} A one-button shortcut for stopping and starting
-recording of takes.
-
-\emph{Notes:} To use, select a folder track, position the edit cursor
-if necessary and press \keys{F9} . If the parent isn't already record-armed
-(probably the case before you start your first recording of the session),
-the function will first simply record-arm the group so you can usefully
-monitor incoming signal in addition to opening the take counter window.
-On a subsequent press of \keys{F9} recording begins. Press again
-to stop the recording. To immediately start a new take, simply press
-\keys{F9} again. To pause and unpause a recording without starting
-a new take, toggle the pause button in the transport or use the shortcut
-\keys{\ctrl+\space} (spacebar). Note that in a vertical workflow,
-the next folder has already been selected, record-armed and that the
-cursor returns to the original position for easy lining up of takes.
-If you run out of source groups, the function will automatically create
-a new one.
+\emph{Description:} A one-button shortcut for stopping and starting recording of
+takes.
+
+\emph{Notes:} To use, select a folder track, position the edit cursor if
+necessary and press \keys{F9} . If the parent isn't already record-armed
+(probably the case before you start your first recording of the session), the
+function will first simply record-arm the group so you can usefully monitor
+incoming signal in addition to opening the take counter window. On a subsequent
+press of \keys{F9} recording begins. Press again to stop the recording. To
+immediately start a new take, simply press \keys{F9} again. To pause and unpause
+a recording without starting a new take, toggle the pause button in the
+transport or use the shortcut \keys{\ctrl+\space} (spacebar). Note that in a
+vertical workflow, the next folder has already been selected, record-armed and
+that the cursor returns to the original position for easy lining up of takes. If
+you run out of source groups, the function will automatically create a new one.
 
 \textbf{Rank Take Higher }\keys{\ctrl+=}
 
-\emph{Description:} Rank higher the last recorded item or selected
-item(s) (and those in the same group)
+\emph{Description:} Rank higher the last recorded item or selected item(s) (and
+those in the same group)
 
-\emph{Notes:} During or after recording, you can rank one or more
-recorded takes. If no item is selected, the last recorded item (along
-with other items in the same group) are affected. Otherwise, you can
-select one or more parent items. The ranking system uses a series
-of colors and a scale system of plusses and minuses (+/-) added as
-a suffix to the item name up to a maximum of three symbols. This allows
-for seven different rankings. Positive rankings are 3 intensities
-of green (good, very good, excellent), negative rankings are yellow,
-orange, red (below average, poor, unusable), with neutral (no ranking)
-using the default item color.
+\emph{Notes:} During or after recording, you can rank one or more recorded
+takes. If no item is selected, the last recorded item (along with other items in
+the same group) are affected. Otherwise, you can select one or more parent
+items. The ranking system uses a series of colors and a scale system of plusses
+and minuses (+/-) added as a suffix to the item name up to a maximum of three
+symbols. This allows for seven different rankings. Positive rankings are 3
+intensities of green (good, very good, excellent), negative rankings are yellow,
+orange, red (below average, poor, unusable), with neutral (no ranking) using the
+default item color.
 
 \textbf{Rank Take Lower }\keys{\ctrl+-}
 
-\emph{Description:} Rank lower the last recorded item or selected
-item(s) (and those in the same group)
+\emph{Description:} Rank lower the last recorded item or selected item(s) (and
+those in the same group)
 
 \emph{Notes: }See the notes above.
 
 \textbf{Remove Take Ranking }\keys{\ctrl+0}
 
-\emph{Description:} Remove any ranking from the last recorded item
-or selected item(s) (and those in the same group)
+\emph{Description:} Remove any ranking from the last recorded item or selected
+item(s) (and those in the same group)
 
 \emph{Notes: }See the notes above.
 
@@ -2106,556 +1978,515 @@ \section{Description of ReaClassical Functions}
 
 \textbf{Add Track To All Groups }\keys{\shift+T}
 
-\emph{Description:} Add a new microphone to all folders (or a single
-folder) mid-recording session.
+\emph{Description:} Add a new microphone to all folders (or a single folder)
+mid-recording session.
 
-\emph{Notes:} The function will prompt for a track name and then a
-new track will appear at the end of every folder and mixer track set.
-You could follow up by moving the track using the function below.
+\emph{Notes:} The function will prompt for a track name and then a new track
+will appear at the end of every folder and mixer track set. You could follow up
+by moving the track using the function below.
 
 \textbf{Delete Track From All Groups }\keys{\ctrl+\shift+\del}
 
-\emph{Description:} Delete the selected mixer track and associated
-child tracks from all groups in the project.
+\emph{Description:} Delete the selected mixer track and associated child tracks
+from all groups in the project.
 
-\emph{Notes:} Available for both horizontal and vertical workflows,
-simply select a single mixer track and press the shortcut.
+\emph{Notes:} Available for both horizontal and vertical workflows, simply
+select a single mixer track and press the shortcut.
 
 \textbf{Prepare Takes }\keys{T}
 
-\emph{Description:} Intelligently prepares recorded or imported takes
-for source-destination editing. Coloring scheme is set in ReaClassical
-Preferences \keys{F5} .
-
-\emph{Notes: }With a single folder group (or individual tracks), the
-shortcut will auto-color and group takes from left to right. With
-a vertical workflow consisting of a destination group and multiple
-source groups, the function will auto-color top to bottom and group
-folder items left to right. Essentially in either setup, takes are
-given different colors and all items associated with a take grouped
-for editing. The function also allows for takes that don't start or
+\emph{Description:} Intelligently prepares recorded or imported takes for
+source-destination editing. Coloring scheme is set in ReaClassical Preferences
+\keys{F5} .
+
+\emph{Notes: }With a single folder group (or individual tracks), the shortcut
+will auto-color and group takes from left to right. With a vertical workflow
+consisting of a destination group and multiple source groups, the function will
+auto-color top to bottom and group folder items left to right. Essentially in
+either setup, takes are given different colors and all items associated with a
+take grouped for editing. The function also allows for takes that don't start or
 end exactly at the same time (this can happen if you receive pre-edited
-materials). The end result is if you drag one item of a take group,
-every other item will move in sync. NOTE: The function was designed
-for use after initial recording or importing of media but as of 24.5.3
-should work at any point during editing (for example to import a patch
-recording). In this case, the destination group items will switch
-to using alternating colors so that you can easily see where your
-edits are on the timeline. And, as of 24.8.5, the function uses the
-`Prepare Takes: Random colors' value from ReaClassical Preferences
-to use either the new color scheme (default, set to 0) or the old
-random color method (set to 1). A reminder that the new REAPER native
-grouping (when set up via Horizontal or Vertical Workflow functions)
-works for 99\% of situations without Prepare Takes but for takes that
-don't start or end at quite the same point it is a must. Prepare Takes
-honors any custom colors set via the Colorize function \keys{K}.
+materials). The end result is if you drag one item of a take group, every other
+item will move in sync. NOTE: The function was designed for use after initial
+recording or importing of media but as of 24.5.3 should work at any point during
+editing (for example to import a patch recording). In this case, the destination
+group items will switch to using alternating colors so that you can easily see
+where your edits are on the timeline. And, as of 24.8.5, the function uses the
+`Prepare Takes: Random colors' value from ReaClassical Preferences to use either
+the new color scheme (default, set to 0) or the old random color method (set to
+1). A reminder that the new REAPER native grouping (when set up via Horizontal
+or Vertical Workflow functions) works for 99\% of situations without Prepare
+Takes but for takes that don't start or end at quite the same point it is a
+must. Prepare Takes honors any custom colors set via the Colorize function
+\keys{K}.
 
 \textbf{Duplicate Folder (no items) }\keys{\textbackslash}
 
-\emph{Description: }Create a duplicate without media items of the
-highlighted folder.
+\emph{Description: }Create a duplicate without media items of the highlighted
+folder.
 
-\emph{Notes: }Note that in a vertical workflow, Classical Take Record
-\keys{F9} automatically creates new folders if needed, this function
-does not need to be used when recording material. However, if importing
-pre-recorded takes and you need more source groups to accommodate
-the material, this is still very useful.
+\emph{Notes: }Note that in a vertical workflow, Classical Take Record \keys{F9}
+automatically creates new folders if needed, this function does not need to be
+used when recording material. However, if importing pre-recorded takes and you
+need more source groups to accommodate the material, this is still very useful.
 
 \textbf{Colorize }\keys{K}
 
-\emph{Description: }Add a identifying custom color to an item and
-those in the same group.
+\emph{Description: }Add a identifying custom color to an item and those in the
+same group.
 
 \emph{Notes: }Useful for identifying where a S-D edit originated.
 
 \textbf{Audition }\keys{A}
 
-\emph{Description:} Mouse-driven auditioning of folders or individual
-tracks.
+\emph{Description:} Mouse-driven auditioning of folders or individual tracks.
 
-\emph{Notes: }Simply hover the mouse over an area of the project and
-press \keys{A} to begin auditioning the audio. With \keys{A}, hover
-over a folder track to hear the complete mix or a single track within
-a folder for listening to individual instrument or sections. Note
-that the \keys{A} function honors any aux or submix track routing.
-The main function respects soloed or muted @ aux, \# submix and roomtone
-tracks so you can easily and quickly set up a custom audition mix
-including a full mix, just the string submix, a single reverb bus
+\emph{Notes: }Simply hover the mouse over an area of the project and press
+\keys{A} to begin auditioning the audio. With \keys{A}, hover over a folder
+track to hear the complete mix or a single track within a folder for listening
+to individual instrument or sections. Note that the \keys{A} function honors any
+aux or submix track routing. The main function respects soloed or muted @ aux,
+\# submix and roomtone tracks so you can easily and quickly set up a custom
+audition mix including a full mix, just the string submix, a single reverb bus
 and anything else you can imagine!
 
 \textbf{Audition With Custom Playback Rate }\keys{\shift+A}
 
-\emph{Description:} Mouse-driven auditioning of folders or individual
-tracks but with a custom playback rate.
+\emph{Description:} Mouse-driven auditioning of folders or individual tracks but
+with a custom playback rate.
 
-\emph{Notes: }Works in the same fashion as regular ReaClassical auditioning
-but you can set the custom playback rate via \keys{F5}. Note that
-regular auditioning will automatically use the standard playback rate.
+\emph{Notes: }Works in the same fashion as regular ReaClassical auditioning but
+you can set the custom playback rate via \keys{F5}. Note that regular
+auditioning will automatically use the standard playback rate.
 
 \textbf{Whole Project View Horizontal }\keys{`}
 
 \emph{Description: }Zoom to show the whole project horizontally. 
 
-\emph{Notes: }Very useful for a birds-eye view of your project so
-you can navigate to another section. If there are multiple folders,
-the function collapses them. If fewer than two folders, the function
-respects the current folder view.
+\emph{Notes: }Very useful for a birds-eye view of your project so you can
+navigate to another section. If there are multiple folders, the function
+collapses them. If fewer than two folders, the function respects the current
+folder view.
 
 \textbf{Whole Project View Vertical }\keys{\ctrl+`}
 
 \emph{Description: }Zoom to show the whole project vertically. 
 
-\emph{Notes: }Very useful for a birds-eye view of your project so
-you can see all vertical take folders. The function respects current
-child track visibility to allow for a typical editing situation of
-viewing all of the destination group but only the folder tracks of
-source groups.
+\emph{Notes: }Very useful for a birds-eye view of your project so you can see
+all vertical take folders. The function respects current child track visibility
+to allow for a typical editing situation of viewing all of the destination group
+but only the folder tracks of source groups.
 
 \textbf{ReaClassical Project Preferences }\keys{F5}
 
-\emph{Description: }Set S-D crossfade length, CD track offset and
-INDEX0 pre-gap length (CD player countdown into next track), album
-lead-out time, Prepare Takes colors, S-D Destination Marker Check
-Range (ms), REF = Overdub Guide, Add S-D Markers at Mouse Hover.
-
-\emph{Notes: }These values are saved on a per-project basis. While
-the INDEX0 pre-gap length can be set lower than 1 second in the dialog
-box, the \emph{Create CD Markers} \keys{Y} function will ignore and
-use a value of 1 second as this is the lowest that makes any sense
-for displaying the countdown to the next track. Prepare Takes by default
-uses the new color scheme for items (`Prepare Takes: Random colors'
-set to 0) which is two shades of blue for horizontal workflows and
-blues and greens for vertical workflows thereby aligning closely with
-the colors of the S-D markers. The old coloring method (`Prepare
-Takes: Random colors' set to 1) uses random colors per item group.
-This can help see where edits have come from but because of the randomness
-may require several iterations until you avoid clashes or eye-sores!
-The user can change the checking range (distance beyond an item edge/fade
-or crossfade) when placing destination IN and OUT markers. Setting
-to 0 would just check if the marker would be placed \emph{inside}
-a item fade or crossfade. If the reference track is set as overdub
-guide, it will be audible during classical take recording and auditioning
-which is extremely useful for overdub recording of material after
-the main session such as a symphonic organ part or narration. Finally,
-you can set \keys{1},\keys{2},\keys{3}, and \keys{4} to add markers
-at the mouse hover position vs edit cursor. In this mode, you can
-also enter the fade editor by hovering of the right-hand items of
-a crossfaded pair and pressing \keys{F}.
+\emph{Description: }Set S-D crossfade length, CD track offset and INDEX0 pre-gap
+length (CD player countdown into next track), album lead-out time, Prepare Takes
+colors, S-D Destination Marker Check Range (ms), REF = Overdub Guide, Add S-D
+Markers at Mouse Hover.
+
+\emph{Notes: }These values are saved on a per-project basis. While the INDEX0
+pre-gap length can be set lower than 1 second in the dialog box, the
+\emph{Create CD Markers} \keys{Y} function will ignore and use a value of 1
+second as this is the lowest that makes any sense for displaying the countdown
+to the next track. Prepare Takes by default uses the new color scheme for items
+(`Prepare Takes: Random colors' set to 0) which is two shades of blue for
+horizontal workflows and blues and greens for vertical workflows thereby
+aligning closely with the colors of the S-D markers. The old coloring method
+(`Prepare Takes: Random colors' set to 1) uses random colors per item group.
+This can help see where edits have come from but because of the randomness may
+require several iterations until you avoid clashes or eye-sores! The user can
+change the checking range (distance beyond an item edge/fade or crossfade) when
+placing destination IN and OUT markers. Setting to 0 would just check if the
+marker would be placed \emph{inside} a item fade or crossfade. If the reference
+track is set as overdub guide, it will be audible during classical take
+recording and auditioning which is extremely useful for overdub recording of
+material after the main session such as a symphonic organ part or narration.
+Finally, you can set \keys{1},\keys{2},\keys{3}, and \keys{4} to add markers at
+the mouse hover position vs edit cursor. In this mode, you can also enter the
+fade editor by hovering of the right-hand items of a crossfaded pair and
+pressing \keys{F}.
 
 \textbf{Find Take (based on filename) }\keys{\return}
 
-\emph{Description: }Enter a take number based on the numerical suffixes
-at the end of filenames and optional session name to quickly jump
-to that media item. 
-
-\emph{Notes: }If the function can't find a media item with that take
-number and optional session name, it will let you know and offer to
-try again with a different number or session name. This will work
-for any file-naming system that uses numbers before the file extension
-such as `mvt1\_main\_pair-T04.wav' or `beethoven\_cello-take\_23.flac'.
-Note that if the imported or recorded files have zero-padding that
-is not a problem as the function strips these away. The session name
-search can be used to find any text in the filename and allows for
-partial searches. If you have used an item to create an S-D edit,
-searching for a take will ignore these items and move directly to
-the original sources.
+\emph{Description: }Enter a take number based on the numerical suffixes at the
+end of filenames and optional session name to quickly jump to that media item. 
+
+\emph{Notes: }If the function can't find a media item with that take number and
+optional session name, it will let you know and offer to try again with a
+different number or session name. This will work for any file-naming system that
+uses numbers before the file extension such as `mvt1\_main\_pair-T04.wav' or
+`beethoven\_cello-take\_23.flac'. Note that if the imported or recorded files
+have zero-padding that is not a problem as the function strips these away. The
+session name search can be used to find any text in the filename and allows for
+partial searches. If you have used an item to create an S-D edit, searching for
+a take will ignore these items and move directly to the original sources.
 
 \textbf{Jump To Time (Selected Item(s) or Project) }\keys{\tab}
 
-\emph{Description: }Jumps to the specified time (mm:ss) in the project
-or internal time within a selected item or set of consecutive crossfaded
-items.
+\emph{Description: }Jumps to the specified time (mm:ss) in the project or
+internal time within a selected item or set of consecutive crossfaded items.
 
-\emph{Notes: }Various use-cases include 1) a musician or producer
-giving you an exact time in draft exported audio of a heavily-edited
-symphony movement where they identified extraneous noise or a noticeable
-edit, 2) building S-D edits from a list or score which includes take
-number and times.
+\emph{Notes: }Various use-cases include 1) a musician or producer giving you an
+exact time in draft exported audio of a heavily-edited symphony movement where
+they identified extraneous noise or a noticeable edit, 2) building S-D edits
+from a list or score which includes take number and times.
 
 \textbf{Source-Destination Markers }\keys{1}, \keys{2}, \keys{3},
 \keys{4}
 
-\emph{Description:} Add source-destination markers ready for making
-the edit.
-
-\emph{Notes: }\keys{1} , \keys{2} = destination IN/OUT; \keys{3}
-, \keys{4} = Source IN/OUT. In between the destination markers is
-where the edit will actually happen. In between the source markers
-is where the material is taken from. Use all four markers for 4-point
-editing. Use any combination of 3 markers for 3-point editing. Use
-either 1 source and 1 destination (more useful) or just the source
-markers for 2-point editing (less useful). By default, the markers
-are added at the edit cursor location. It is very important and useful
-to note is that the source marker labels reflect which source group
-was highlighted when the markers were placed. In other words, to create
-source markers at the edit cursor, first select the item in the chosen
-folder track and then use the \keys{3} \& \keys{4} shortcuts. This
-means that when the actual edit is made (using \keys{5}) it doesn't
-matter what is highlighted at the time. Obviously this is only useful
-if using a vertical take system approach. Additionally, you can set
-the placement of S-D markers at mouse hover position via ReaClassical
-Preferences (\keys{F5}). The benefit, other than speed, is that you
-don't have to worry about making sure source tracks are selected by
-clicking on the item - simply hover over the desired item and add
-the source markers!
-
-If you attempt to set one of the destination markers inside of an
-existing crossfade or within 500ms of a crossfade or item edge, the
-function will alert you (pressing OK places the marker anyway). This
-helps avoid awkward `sliver' edits that can happen especially if
-you are zoomed out and placing markers by ear. You can set the check
-range via \keys{F5}. The check range (in milliseconds) is the distance
-beyond an item edge, fade or crossfade. For example, setting to 0
-would only check for placement \emph{inside }a fade or crossfade.
+\emph{Description:} Add source-destination markers ready for making the edit.
+
+\emph{Notes: }\keys{1} , \keys{2} = destination IN/OUT; \keys{3} , \keys{4} =
+Source IN/OUT. In between the destination markers is where the edit will
+actually happen. In between the source markers is where the material is taken
+from. Use all four markers for 4-point editing. Use any combination of 3 markers
+for 3-point editing. Use either 1 source and 1 destination (more useful) or just
+the source markers for 2-point editing (less useful). By default, the markers
+are added at the edit cursor location. It is very important and useful to note
+is that the source marker labels reflect which source group was highlighted when
+the markers were placed. In other words, to create source markers at the edit
+cursor, first select the item in the chosen folder track and then use the
+\keys{3} \& \keys{4} shortcuts. This means that when the actual edit is made
+(using \keys{5}) it doesn't matter what is highlighted at the time. Obviously
+this is only useful if using a vertical take system approach. Additionally, you
+can set the placement of S-D markers at mouse hover position via ReaClassical
+Preferences (\keys{F5}). The benefit, other than speed, is that you don't have
+to worry about making sure source tracks are selected by clicking on the item -
+simply hover over the desired item and add the source markers!
+
+If you attempt to set one of the destination markers inside of an existing
+crossfade or within 500ms of a crossfade or item edge, the function will alert
+you (pressing OK places the marker anyway). This helps avoid awkward `sliver'
+edits that can happen especially if you are zoomed out and placing markers by
+ear. You can set the check range via \keys{F5}. The check range (in
+milliseconds) is the distance beyond an item edge, fade or crossfade. For
+example, setting to 0 would only check for placement \emph{inside }a fade or
+crossfade.
 
 \textbf{S-D Edit }\keys{5}
 
 \emph{Description:} Make the source-destination edit (2-, 3- and 4-point
 editing)
 
-\emph{Notes: }Once you have placed your S-D markers press \keys{5}
-to make the edit. Whatever the number of markers you used, the edit
-will be crossfaded using a short equal power fade (you can change
-this in REAPER options under \emph{Media Item Defaults}) and when
-using 4 markers, the S-D markers removed ready for the next edit.
-The edits are perfectly crossfaded and the user only needs to focus
-on the selection of source material. For any S-D edit you can, of
-course, undo the action and return to the previous state. The desired
-crossfade length is set via ReaClassical Project Preferences \keys{F5}
-. Note that this function can be used in multi-tab S-D editing mode
-(see below).
+\emph{Notes: }Once you have placed your S-D markers press \keys{5} to make the
+edit. Whatever the number of markers you used, the edit will be crossfaded using
+a short equal power fade (you can change this in REAPER options under
+\emph{Media Item Defaults}) and when using 4 markers, the S-D markers removed
+ready for the next edit. The edits are perfectly crossfaded and the user only
+needs to focus on the selection of source material. For any S-D edit you can, of
+course, undo the action and return to the previous state. The desired crossfade
+length is set via ReaClassical Project Preferences \keys{F5} . Note that this
+function can be used in multi-tab S-D editing mode (see below).
 
 \textbf{3-point `Assembly Line' Edit }\keys{F3}
 
-\emph{Description:} Uses both source markers and destination-IN marker
-to compile edits from start to finish.
+\emph{Description:} Uses both source markers and destination-IN marker to
+compile edits from start to finish.
 
-\emph{Notes: }The destination-IN marker is retained and placed at
-the end of the edit so that for subsequent operations the user only
-has to set the source markers. Worth repeating from the S-D edit notes: 
+\emph{Notes: }The destination-IN marker is retained and placed at the end of the
+edit so that for subsequent operations the user only has to set the source
+markers. Worth repeating from the S-D edit notes: 
 \begin{quote}
-\emph{\dots the source marker labels reflect which source group was
-highlighted when the markers were placed. In other words, to create
-source markers, first select the item in the chosen folder track and
-then use the }\keys{3}\emph{ \& }\keys{4}\emph{ shortcuts. This
-means that when the actual edit is made (using }\keys{5} \emph{)
-it doesn't matter what is highlighted at the time.}
+\emph{\dots the source marker labels reflect which source group was highlighted
+when the markers were placed. In other words, to create source markers, first
+select the item in the chosen folder track and then use the }\keys{3}\emph{ \&
+}\keys{4}\emph{ shortcuts. This means that when the actual edit is made (using
+}\keys{5} \emph{) it doesn't matter what is highlighted at the time.}
 \end{quote}
-If you accidentally move the location of the destination IN marker
-in the middle of assembly line editing, the function will let you
-know and offer to move the marker back to the right edge of the latest
-item in the edit. This will even allow you to do some regular 3- or
-4-point editing earlier in the sequence before continuing with the
-assembly line edits. Just place the destination IN marker anywhere
-in the project and answer `No' when the message box appears. Note
-that this function can also be used in multi-tab S-D editing mode
-(see below).
+If you accidentally move the location of the destination IN marker in the middle
+of assembly line editing, the function will let you know and offer to move the
+marker back to the right edge of the latest item in the edit. This will even
+allow you to do some regular 3- or 4-point editing earlier in the sequence
+before continuing with the assembly line edits. Just place the destination IN
+marker anywhere in the project and answer `No' when the message box appears.
+Note that this function can also be used in multi-tab S-D editing mode (see
+below).
 
 \textbf{Insert with }\textbf{Timestretching}\textbf{ }\keys{F4}
 
-\emph{Description: }Makes the source material fit the the space in
-between the destination markers using time-stretching vs rippling
-later material.
+\emph{Description: }Makes the source material fit the the space in between the
+destination markers using time-stretching vs rippling later material.
 
-\emph{Notes:} Requires placing all four S-D markers. This is less
-useful for classical music editing but perhaps very useful for video
-work where replacement material has to fit exactly into the time used
-by the original. Crossfade length is set via ReaClassical Project
-Preferences \keys{F5} . Note that this function can also be used
-in multi-tab S-D editing mode (see below).
+\emph{Notes:} Requires placing all four S-D markers. This is less useful for
+classical music editing but perhaps very useful for video work where replacement
+material has to fit exactly into the time used by the original. Crossfade length
+is set via ReaClassical Project Preferences \keys{F5} . Note that this function
+can also be used in multi-tab S-D editing mode (see below).
 
 \textbf{Delete with Ripple }\keys{\backspace}
 
-\emph{Description: }Deletes material between the source markers, rippling
-all later material.
+\emph{Description: }Deletes material between the source markers, rippling all
+later material.
 
-\emph{Notes:} This only affects the folder group that was highlighted
-when the source markers were placed which will almost always be the
-destination group (the top folder in the project). Crossfade length
-is set via ReaClassical Project Preferences \keys{F5} .
+\emph{Notes:} This only affects the folder group that was highlighted when the
+source markers were placed which will almost always be the destination group
+(the top folder in the project). Crossfade length is set via ReaClassical
+Project Preferences \keys{F5} .
 
 \textbf{Delete Leaving Silence }\keys{\ctrl+\backspace}
 
-\emph{Description:} Deletes material between the source markers, no
-rippling of later material.
+\emph{Description:} Deletes material between the source markers, no rippling of
+later material.
 
-\emph{Notes: }This is similar to \emph{Delete with Ripple} but instead
-leaves a gap where the original source material existed.
+\emph{Notes: }This is similar to \emph{Delete with Ripple} but instead leaves a
+gap where the original source material existed.
 
 \textbf{Add Source Project Marker }\keys{\ctrl+\Alt+3} or \keys{\ctrl+\Alt+4}
 
 \emph{Description:} Enables multi-tab editing
 
-\emph{Notes: }To work in multi-tab S-D edit mode, the user is required
-to use the S-D project markers as a pair, one in the `destination'
-tab and the other in the `source' tab. In multi-tab S-D edit mode,
-any source makers placed by the user are not deleted in order to aid
-a quick undo in the destination tab ready to reapply a tweaked edit.
+\emph{Notes: }To work in multi-tab S-D edit mode, the user is required to use
+the S-D project markers as a pair, one in the `destination' tab and the other in
+the `source' tab. In multi-tab S-D edit mode, any source makers placed by the
+user are not deleted in order to aid a quick undo in the destination tab ready
+to reapply a tweaked edit.
 
-\textbf{Add Destination Project Marker }\keys{\ctrl+\Alt+1} or \keys{\ctrl+\Alt+2}
+\textbf{Add Destination Project Marker }\keys{\ctrl+\Alt+1} or
+\keys{\ctrl+\Alt+2}
 
 \emph{Description:} Enables multi-tab editing
 
-\emph{Notes: }To work in multi-tab S-D edit mode, the user is required
-to use the S-D project markers as a pair, one in the `destination'
-tab and the other in the `source' tab. In multi-tab S-D edit mode,
-any source makers placed by the user are not deleted in order to aid
-a quick undo in the destination tab ready to reapply a tweaked edit.
+\emph{Notes: }To work in multi-tab S-D edit mode, the user is required to use
+the S-D project markers as a pair, one in the `destination' tab and the other in
+the `source' tab. In multi-tab S-D edit mode, any source makers placed by the
+user are not deleted in order to aid a quick undo in the destination tab ready
+to reapply a tweaked edit.
 
 \textbf{Delete all S-D Markers }\keys{\ctrl+\del}
 
 \emph{Description: }Deletes source and destination markers.
 
-\emph{Notes: }Useful if you want to abandon a S-D edit, however, there's
-also no problem leaving the markers for another time given that shortcuts
-\keys{1} ,\keys{2} ,\keys{3} and \keys{4} replace any existing
-version of the marker. Also when running \emph{Create CD Markers}
-function all markers are deleted in any case.
+\emph{Notes: }Useful if you want to abandon a S-D edit, however, there's also no
+problem leaving the markers for another time given that shortcuts \keys{1}
+,\keys{2} ,\keys{3} and \keys{4} replace any existing version of the marker.
+Also when running \emph{Create CD Markers} function all markers are deleted in
+any case.
 
 \textbf{Delete all S-D Project Markers }\keys{\shift+\del}
 
 \emph{Description:} Deletes both source and destination project markers
 
-\emph{Notes: }In order to switch back to regular single-tab S-D editing,
-it is important to run this command otherwise the S-D edit functions
-will continue to attempt to find markers elsewhere.
+\emph{Notes: }In order to switch back to regular single-tab S-D editing, it is
+important to run this command otherwise the S-D edit functions will continue to
+attempt to find markers elsewhere.
 
 \textbf{Classical Crossfade Editor }\keys{F}
 
-\emph{Description: }Opens a custom two-line crossfade editor view
-for precise finessing of S-D edits.
-
-\emph{Notes: }To enter the crossfade view, select the right-hand item
-of a crossfaded item pair (or hover over the item if `Add S-D Markers
-at Mouse Hover' is set to 1 in ReaClassical Preferences \keys{F5}).
-The user is then presented with a zoomed-in view of the edit. Red
-is always the left item, green the right. For safety reasons, all
-items in the first folder before the left red item are locked to avoid
-inadvertently messing with an existing fade. Further, ReaClassical
-uses a feature similar to `Classical Mode' in Sequoia's fade editor.
-Essentially, the user is free to move the left item but on running
-Classical Crossfade \keys{X} or exiting using \keys{F} (after, for
-example, setting a more complex fade by hand), the red item snaps
-back to its original position (all future items are also relatively
-shifted), thereby perfectly preserving the previous fade. To immediately
-audition, use the A shortcut in one of four areas. Hover the mouse
-in either of the blank areas (no media item) in the top left or bottom
-right of the view to audition the function from that location to the
-mirrored location on the other side of the edit. Note how easy it
-is to quickly set an audition length! Or, hover the mouse on the first
-item and press \keys{A} to just audition the material into the fade.
-Hover and press \keys{A} on the outgoing item to only hear the material
-out of the fade. Note that auditioning in the arrange window or in
-fade editor mode maintains muted items on the folder track (for example,
-in the case of a muted guide track created by Prepare Takes \keys{T}
-for mono-channel polywav import.
-
-To actually finesse the edit, ensure at least one of the crossfaded
-items is selected. Then hover your mouse in a blank area (similar
-to the above fade editor audition tool process) and press \keys{Z}.
-You'll notice that the waves mirror extend to the mouse position to
-allow for easy lining up of the material. Place the edit cursor at
-an appropriate edit point on the left red item (i.e. just before a
-transient) then simply move the right green item to align and then
-press \keys{X}. Audition again, \keys{Z} to expand again. You can
-quickly move to the previous or next crossfade pair (with all coloring
-and locking automatically happening behind the scenes) by pressing
-\keys{Q} or \keys{W}. Or, simply press \keys{F} to exit the fade
-view (it goes without saying that the original colors of the project
-items are restored).
-
-Note also that while in crossfade editor view, any edits only affect
-the destination group.
+\emph{Description: }Opens a custom two-line crossfade editor view for precise
+finessing of S-D edits.
+
+\emph{Notes: }To enter the crossfade view, select the right-hand item of a
+crossfaded item pair (or hover over the item if `Add S-D Markers at Mouse Hover'
+is set to 1 in ReaClassical Preferences \keys{F5}). The user is then presented
+with a zoomed-in view of the edit. Red is always the left item, green the right.
+For safety reasons, all items in the first folder before the left red item are
+locked to avoid inadvertently messing with an existing fade. Further,
+ReaClassical uses a feature similar to `Classical Mode' in Sequoia's fade
+editor. Essentially, the user is free to move the left item but on running
+Classical Crossfade \keys{X} or exiting using \keys{F} (after, for example,
+setting a more complex fade by hand), the red item snaps back to its original
+position (all future items are also relatively shifted), thereby perfectly
+preserving the previous fade. To immediately audition, use the A shortcut in one
+of four areas. Hover the mouse in either of the blank areas (no media item) in
+the top left or bottom right of the view to audition the function from that
+location to the mirrored location on the other side of the edit. Note how easy
+it is to quickly set an audition length! Or, hover the mouse on the first item
+and press \keys{A} to just audition the material into the fade. Hover and press
+\keys{A} on the outgoing item to only hear the material out of the fade. Note
+that auditioning in the arrange window or in fade editor mode maintains muted
+items on the folder track (for example, in the case of a muted guide track
+created by Prepare Takes \keys{T} for mono-channel polywav import.
+
+To actually finesse the edit, ensure at least one of the crossfaded items is
+selected. Then hover your mouse in a blank area (similar to the above fade
+editor audition tool process) and press \keys{Z}. You'll notice that the waves
+mirror extend to the mouse position to allow for easy lining up of the material.
+Place the edit cursor at an appropriate edit point on the left red item (i.e.
+just before a transient) then simply move the right green item to align and then
+press \keys{X}. Audition again, \keys{Z} to expand again. You can quickly move
+to the previous or next crossfade pair (with all coloring and locking
+automatically happening behind the scenes) by pressing \keys{Q} or \keys{W}. Or,
+simply press \keys{F} to exit the fade view (it goes without saying that the
+original colors of the project items are restored).
+
+Note also that while in crossfade editor view, any edits only affect the
+destination group.
 
 \textbf{Edit Classical Crossfade }\keys{Z}
 
-\emph{Description: }Expand the crossfade for editing while in the
-crossfade editor view.
+\emph{Description: }Expand the crossfade for editing while in the crossfade
+editor view.
 
-\emph{Notes:} This shortcut will only work while in crossfade editor
-view. If you attempt to use it in other situations, you will receive
-a helpful message. As described above, when either one or both items
-are highlighted, hover your mouse in a blank area and press \keys{Z}
-. You'll notice that the waveforms are mirror extended to allow for
-easy lining up of the material. Simply put the edit cursor just before
-a transient on the red item, move the green right item to align, and
-then press \keys{X}. 
+\emph{Notes:} This shortcut will only work while in crossfade editor view. If
+you attempt to use it in other situations, you will receive a helpful message.
+As described above, when either one or both items are highlighted, hover your
+mouse in a blank area and press \keys{Z} . You'll notice that the waveforms are
+mirror extended to allow for easy lining up of the material. Simply put the edit
+cursor just before a transient on the red item, move the green right item to
+align, and then press \keys{X}. 
 
 \textbf{Classical Crossfade }\keys{X}
 
-\emph{Description: }Create a `classical' crossfade either in regular
-project view or crossfade editor mode.
+\emph{Description: }Create a `classical' crossfade either in regular project
+view or crossfade editor mode.
 
-\emph{Notes: }While in the project view, drag an item (or grouped
-items) over another, move the edit cursor where you want the edit
-to happen and press \keys{X}. Given the availability of S-D edit
-functionality and group razor-editing, this function is less useful
-in this context. However, it is essential in the crossfade editor
-mode for making the edit. Crossfade length is set via ReaClassical
-Project Preferences \keys{F5} .
+\emph{Notes: }While in the project view, drag an item (or grouped items) over
+another, move the edit cursor where you want the edit to happen and press
+\keys{X}. Given the availability of S-D edit functionality and group
+razor-editing, this function is less useful in this context. However, it is
+essential in the crossfade editor mode for making the edit. Crossfade length is
+set via ReaClassical Project Preferences \keys{F5} .
 
 \textbf{Mastering Mode }\keys{\ctrl+M}
 
-\emph{Description:} Allows for focused work on the destination group.
-Couple with `automation' mode, to add mixer and FX parameter values
-as envelope points
+\emph{Description:} Allows for focused work on the destination group. Couple
+with `automation' mode, to add mixer and FX parameter values as envelope points
 
-\emph{Notes: }Enter `automation' mode via \keys{\ctrl+I}. All the
-envelope buttons will turn blue (`latched preview') and you will
-see a message box with instructions. You can then use the function
-below. Exit `automation' mode again via \keys{\ctrl+I}. The envelope
-buttons will then turn green (`read' mode).
+\emph{Notes: }Enter `automation' mode via \keys{\ctrl+I}. All the envelope
+buttons will turn blue (`latched preview') and you will see a message box with
+instructions. You can then use the function below. Exit `automation' mode again
+via \keys{\ctrl+I}. The envelope buttons will then turn green (`read' mode).
 
 \textbf{Automation Mode }\keys{\ctrl+I}
 
-\emph{Description: }Coupled with `mastering' mode, allows for adding
-mixer and FX parameter values as envelope points
+\emph{Description: }Coupled with `mastering' mode, allows for adding mixer and
+FX parameter values as envelope points
 
-\emph{Notes: }Enter `automation' mode via \keys{\ctrl+I}. All the
-envelope buttons will turn blue (`latched preview') and you will
-see a message box with instructions. You can then use the function
-below. Exit `automation' mode again via \keys{\ctrl+I}. The envelope
-buttons will then turn green (`read' mode).
+\emph{Notes: }Enter `automation' mode via \keys{\ctrl+I}. All the envelope
+buttons will turn blue (`latched preview') and you will see a message box with
+instructions. You can then use the function below. Exit `automation' mode again
+via \keys{\ctrl+I}. The envelope buttons will then turn green (`read' mode).
 
 \textbf{Insert Automation }\keys{I}
 
-\emph{Description: }Insert mixer and FX values as envelope points
-into automation lanes
+\emph{Description: }Insert mixer and FX values as envelope points into
+automation lanes
 
-\emph{Notes: }Simply set any desired mixer controls or parameters
-in an open FX window) on one or more tracks and press \keys{I} to
-enter the values as points on the automation lanes at the edit cursor
-position or, if one exists, within the time selection.
+\emph{Notes: }Simply set any desired mixer controls or parameters in an open FX
+window) on one or more tracks and press \keys{I} to enter the values as points
+on the automation lanes at the edit cursor position or, if one exists, within
+the time selection.
 
 \textbf{Reposition CD Tracks }\keys{\ctrl+Y}
 
 \emph{Description: }Create uniform custom spacing between CD tracks.
 
-\emph{Notes: }Using the same system as \emph{Create CD Markers} below,
-this function works intelligently based on whether items have a take
-name. If the take name is present, the desired silent gap is created.
-If not, the crossfade (or gap) is respected by shifting the item by
-the same amount as the previous one.
+\emph{Notes: }Using the same system as \emph{Create CD Markers} below, this
+function works intelligently based on whether items have a take name. If the
+take name is present, the desired silent gap is created. If not, the crossfade
+(or gap) is respected by shifting the item by the same amount as the previous
+one.
 
 \textbf{Shift CD track one track to the left/right }\keys{\ctrl+\arrowkeyleft}
 and \keys{\ctrl+\arrowkeyright}
 
 \emph{Description: }Shift CD tracks left and right along the timeline.
 
-\emph{Notes: }Select the start of a CD track and use the shortcuts
-to rearrange the order of your album. The function treats crossfaded
-CD track starts as part of the same group to cover instances where
-a movement follows on \emph{attacca }to maintain the correct order.
-Then simply run or re-run the \emph{Create CD Markers} function to
-create new markers that align with item starts.
+\emph{Notes: }Select the start of a CD track and use the shortcuts to rearrange
+the order of your album. The function treats crossfaded CD track starts as part
+of the same group to cover instances where a movement follows on \emph{attacca
+}to maintain the correct order. Then simply run or re-run the \emph{Create CD
+Markers} function to create new markers that align with item starts.
 
 \textbf{Remove Take Names from Destination Parent }\keys{\ctrl+T}
 
-\emph{Description: }Run after source-destination editing is complete
-to remove recorded/imported take names from destination parent items
-in preparation for using the Create CD Markers function.
+\emph{Description: }Run after source-destination editing is complete to remove
+recorded/imported take names from destination parent items in preparation for
+using the Create CD Markers function.
 
-\emph{Notes: }At this stage, the only items present in the destination
-folder should be those comprising the final album. If working in horizontal
-workflow mode up to this point, drag any source material to new group
-by first creating an empty duplicate folder via \keys{\textbackslash}.
-As mentioned below, add take names only to destination parent items
-that are to become CD track starts.
+\emph{Notes: }At this stage, the only items present in the destination folder
+should be those comprising the final album. If working in horizontal workflow
+mode up to this point, drag any source material to new group by first creating
+an empty duplicate folder via \keys{\textbackslash}. As mentioned below, add
+take names only to destination parent items that are to become CD track starts.
 
 \textbf{Create CD Markers }\keys{Y}
 
-\emph{Description: }Auto-generation of CD/DDP markers, UPC/ISRC codes,
-and room tone automation, for efficient DDP, bin/cue and individual
-file exporting. Checks against Redbook standards and returns warning
-messages if there are 1) more than 99 tracks, or 2) There are tracks
-shorter than 4 seconds, or 3) the total length of the project is greater
-than 79.57 minutes.
-
-\emph{Notes: }This might be the biggest time-saving function in the
-ReaClassical system. It works as follows: 1) Edit gaps between items
-until you are happy 2) Add take names only to items that will become
-CD track starts 3) Run the function via shortcut \keys{Y} and you
-will be asked to enter various information including UPC/ISRC (optional)
-and CD metadata. Done! Note that ISRC codes are auto-generated per
-track based on the numbers you enter.
-
-You can add audio to the initial pre-gap (easter egg track) by not
-giving the first item (or crossfaded items) a take name. The function
-will assume that this is supposed to be hidden and generate the initial
-pre-gap length accordingly. All album metadata is placed towards the
-end of the album inside a default 7-second silent lead-out (so that
-CD players in cars don't immediately cycle back to the first track
-without a little breathing room). This value can be changed via the
-ReaClassical Project Preferences \keys{F5} . In addition to markers,
-regions are also generated for easy exporting of individual tracks.
-If you need a countdown into a track, simply add a ! at the start
-of the take name (e.g. `!Allegro'). Then after running the function
-adjust the position as desired (it defaults to 3 seconds in length
-but this can easily be set in ReaClassical Preferences). It is worth
-repeating at this point that you should only give names to items that
-are track starts. If you skip an item, the function rightly assumes
-it is part of the previous track. Note that the markers snap to exact
-CD frames and if the media item start is in between CD frames, the
-function will always place the marker on the earlier of the two. By
-default, the function uses a 200ms offset for placement of the markers
-(as in, markers appear 200ms to the left of the media item start)
-but, again, this value can be set via ReaClassical Preferences.
-
-If a room tone track exists in the project, the function will also
-generate volume automation to create perfect crossfades with the items
-on the first destination track. Slicing and dicing room tone audio
-to fill in digital silence is now a thing of the past. Simply add
-a long recorded or convolution-generated room tone audio item before
-running the function. The ReaClassical way of dealing with room tone
-is non-destructive and instant! 
-
-I feel that once you try this CD/DDP marker generation workflow, it
-is difficult to ever go back to other ways of working. The key thing
-to think about is that the markers and room tone fade-ins and outs
-are trivially easy to recreate if you change a gap between items or
-even rearrange the order of tracks. Just run the function again. The
-key is the workflow: all marker generation is automatically based
-on item positioning and naming. Plus, all metadata and ISRC is saved
-into the project file so once entered you don't have to ever type
-it in again unless you need to make changes. Room tone volume changes
-are made via auto-generated volume envelope points that precisely
-map REAPER's built-in fade curves.
-
-Hopefully you agree that this way of working with CD/DDP layout is
-a game-changer, a real time-saver and simply a better way of thinking
-about this portion of the mastering process.
+\emph{Description: }Auto-generation of CD/DDP markers, UPC/ISRC codes, and room
+tone automation, for efficient DDP, bin/cue and individual file exporting.
+Checks against Redbook standards and returns warning messages if there are 1)
+more than 99 tracks, or 2) There are tracks shorter than 4 seconds, or 3) the
+total length of the project is greater than 79.57 minutes.
+
+\emph{Notes: }This might be the biggest time-saving function in the ReaClassical
+system. It works as follows: 1) Edit gaps between items until you are happy 2)
+Add take names only to items that will become CD track starts 3) Run the
+function via shortcut \keys{Y} and you will be asked to enter various
+information including UPC/ISRC (optional) and CD metadata. Done! Note that ISRC
+codes are auto-generated per track based on the numbers you enter.
+
+You can add audio to the initial pre-gap (easter egg track) by not giving the
+first item (or crossfaded items) a take name. The function will assume that this
+is supposed to be hidden and generate the initial pre-gap length accordingly.
+All album metadata is placed towards the end of the album inside a default
+7-second silent lead-out (so that CD players in cars don't immediately cycle
+back to the first track without a little breathing room). This value can be
+changed via the ReaClassical Project Preferences \keys{F5} . In addition to
+markers, regions are also generated for easy exporting of individual tracks. If
+you need a countdown into a track, simply add a ! at the start of the take name
+(e.g. `!Allegro'). Then after running the function adjust the position as
+desired (it defaults to 3 seconds in length but this can easily be set in
+ReaClassical Preferences). It is worth repeating at this point that you should
+only give names to items that are track starts. If you skip an item, the
+function rightly assumes it is part of the previous track. Note that the markers
+snap to exact CD frames and if the media item start is in between CD frames, the
+function will always place the marker on the earlier of the two. By default, the
+function uses a 200ms offset for placement of the markers (as in, markers appear
+200ms to the left of the media item start) but, again, this value can be set via
+ReaClassical Preferences.
+
+If a room tone track exists in the project, the function will also generate
+volume automation to create perfect crossfades with the items on the first
+destination track. Slicing and dicing room tone audio to fill in digital silence
+is now a thing of the past. Simply add a long recorded or convolution-generated
+room tone audio item before running the function. The ReaClassical way of
+dealing with room tone is non-destructive and instant! 
+
+I feel that once you try this CD/DDP marker generation workflow, it is difficult
+to ever go back to other ways of working. The key thing to think about is that
+the markers and room tone fade-ins and outs are trivially easy to recreate if
+you change a gap between items or even rearrange the order of tracks. Just run
+the function again. The key is the workflow: all marker generation is
+automatically based on item positioning and naming. Plus, all metadata and ISRC
+is saved into the project file so once entered you don't have to ever type it in
+again unless you need to make changes. Room tone volume changes are made via
+auto-generated volume envelope points that precisely map REAPER's built-in fade
+curves.
+
+Hopefully you agree that this way of working with CD/DDP layout is a
+game-changer, a real time-saver and simply a better way of thinking about this
+portion of the mastering process.
 
 \textbf{Markers to CUE }\keys{C}
 
-\emph{Description: }Once you have used the \emph{Create CD Markers
-}function, it is now extremely easy to generate a CUE file and album
-reports using partly auto-generated metadata.
-
-\emph{Notes: }The genre defaults to classical, the year listed is
-the current year and the filename is based on the project name. Simply
-fill in the remaining details and press OK. Depending on the extension
-you choose, the CUE file will add the correct format to the accordingly.
-The CUE file (matching the given filename) is generated in the root
-of the project path along with an album report suitable for including
-when sending off to a CD factory or client. Any data entered is stored
-and recalled the next time you use the function. Before or after using
-the function, generate a whole project render in WAV, MP3, AIFF or
-FLAC using the included render preset. Then drag the CUE file into
-the same folder.
+\emph{Description: }Once you have used the \emph{Create CD Markers }function, it
+is now extremely easy to generate a CUE file and album reports using partly
+auto-generated metadata.
+
+\emph{Notes: }The genre defaults to classical, the year listed is the current
+year and the filename is based on the project name. Simply fill in the remaining
+details and press OK. Depending on the extension you choose, the CUE file will
+add the correct format to the accordingly. The CUE file (matching the given
+filename) is generated in the root of the project path along with an album
+report suitable for including when sending off to a CD factory or client. Any
+data entered is stored and recalled the next time you use the function. Before
+or after using the function, generate a whole project render in WAV, MP3, AIFF
+or FLAC using the included render preset. Then drag the CUE file into the same
+folder.
 
 \textbf{Lock Toggle (deprecated)}
 
-\emph{Description: }Lock every source group (leaving the destination
-group free for editing in ripple-all mode)
+\emph{Description: }Lock every source group (leaving the destination group free
+for editing in ripple-all mode)
 
-\emph{Notes:} This function is now deprecated but I will leave in
-place for now. It was useful before the new \emph{Create CD Markers}
-function came into being as a way to engage ripple-all mode without
-disturbing source group items, thereby allowing moving of destination
-material along with CD markers in the final stages of the mastering
-process. There is no doubt that I much prefer working with the newer
-function. The lock toggle icon on the custom toolbar has now been
-replaced by a mug to represent the \emph{Create CD Markers} action.\pagebreak{}
+\emph{Notes:} This function is now deprecated but I will leave in place for now.
+It was useful before the new \emph{Create CD Markers} function came into being
+as a way to engage ripple-all mode without disturbing source group items,
+thereby allowing moving of destination material along with CD markers in the
+final stages of the mastering process. There is no doubt that I much prefer
+working with the newer function. The lock toggle icon on the custom toolbar has
+now been replaced by a mug to represent the \emph{Create CD Markers}
+action.\pagebreak{}
 
 \section{Shortcuts}
 
@@ -2665,24 +2496,24 @@ \section{Shortcuts}
 \item [{\keys{End}}] Project End 
 \item [{\keys{`}}] Whole Project View (Horizontal)
 \item [{\keys{\ctrl+`}}] Whole Project View (Vertical)
-\item [{\keys{\return}}] Find Take (based on number found at the end of
-a filename and optional session name)
+\item [{\keys{\return}}] Find Take (based on number found at the end of a
+filename and optional session name)
 \item [{\keys{\tab}}] Jump to Time (within selected item(s) or project)
 \item [{\keys{\ctrl+\arrowkeyup}}] Increase peaks display zoom for project
 \item [{\keys{\ctrl+\arrowkeydown}}] Decrease peaks display zoom for project
 \item [{\keys{Q}}] Previous Item edge / previous crossfade (when in crossfade
 editor view)
-\item [{\keys{W}}] Next Item edge / next crossfade (when in crossfade
-editor view)
+\item [{\keys{W}}] Next Item edge / next crossfade (when in crossfade editor
+view)
 \item [{\keys{,}}] Previous Marker 
 \item [{\keys{.}}] Next Marker
 \end{lyxlist}
 \textbf{Folder \& Source Group Preparation}
 \begin{lyxlist}{00.00.0000}
-\item [{\keys{F7}}] Create/Sync Horizontal Workflow (prompts for number
-of tracks) / Re-build routing etc
-\item [{\keys{F8}}] Create/Sync Vertical Workflow (from scratch or from
-single existing folder) / Re-build routing etc
+\item [{\keys{F7}}] Create/Sync Horizontal Workflow (prompts for number of
+tracks) / Re-build routing etc
+\item [{\keys{F8}}] Create/Sync Vertical Workflow (from scratch or from single
+existing folder) / Re-build routing etc
 \item [{\keys{F10}}] Explode multi-channel items (polywavs)
 \item [{\keys{\textbackslash}}] Duplicate Folder (no items)
 \item [{\keys{\shift+T}}] Add Track To All Groups
@@ -2695,8 +2526,8 @@ \section{Shortcuts}
 \item [{\keys{\ctrl+F9}}] Auto set recording inputs based on track names
 \item [{\keys{F9}}] Classical Take Record
 \item [{\keys{\ctrl+space}}] Record-pause
-\item [{\keys{\shift+F9}}] Increment take number while recording (use
-only during silence)
+\item [{\keys{\shift+F9}}] Increment take number while recording (use only
+during silence)
 \item [{\keys{\ctrl+=}}] Rank take higher
 \item [{\keys{\ctrl+-}}] Rank take lower
 \item [{\keys{\ctrl+0}}] Remove any take ranking
@@ -2710,12 +2541,12 @@ \section{Shortcuts}
 \begin{lyxlist}{00.00.0000}
 \item [{\keys{A}}] Audition (full mix or child track) at mouse position
 (includes any unmuted @ aux or \# submix connections)
-\item [{\keys{\shift+A}}] Audition with custom playback rate (value set
-via \keys{F5})
-\item [{\keys{D}}] Display child tracks (plus display automation lanes
-in `mastering' mode)
-\item [{\keys{E}}] Ensconce (hide) child tracks (plus hide automation
-lanes in `mastering' mode)
+\item [{\keys{\shift+A}}] Audition with custom playback rate (value set via
+\keys{F5})
+\item [{\keys{D}}] Display child tracks (plus display automation lanes in
+`mastering' mode)
+\item [{\keys{E}}] Ensconce (hide) child tracks (plus hide automation lanes in
+`mastering' mode)
 \item [{\keys{S}}] Split item
 \item [{\keys{J}}] Join (glue) item
 \item [{\keys{G}}] Group items 
@@ -2738,14 +2569,13 @@ \section{Shortcuts}
 \item [{\keys{\backspace}}] Delete with ripple (between 2 source markers) 
 \item [{\keys{\ctrl+\backspace}}] Delete Leaving Silence (between 2 source
 markers) 
-\item [{\keys{\ctrl+\Alt+1}}] Add Destination Project Marker (multi-tab
-S-D editing)
-\item [{\keys{\ctrl+\Alt+3}}] Add Source Project Marker (multi-tab S-D
+\item [{\keys{\ctrl+\Alt+1}}] Add Destination Project Marker (multi-tab S-D
 editing)
-\item [{\keys{ctrl+F12}}] Add Destination Markers to edges of selected
-item(s) or time selection (time selection takes precedence)
-\item [{\keys{F12}}] Add Source Markers to edges of selected item(s) or
-time selection (time selection takes precedence)
+\item [{\keys{\ctrl+\Alt+3}}] Add Source Project Marker (multi-tab S-D editing)
+\item [{\keys{ctrl+F12}}] Add Destination Markers to edges of selected item(s)
+or time selection (time selection takes precedence)
+\item [{\keys{F12}}] Add Source Markers to edges of selected item(s) or time
+selection (time selection takes precedence)
 \item [{\keys{\ctrl+1}}] Move to Destination IN marker
 \item [{\keys{\ctrl+2}}] Move to Destination OUT marker
 \item [{\keys{\ctrl+3}}] Move to Source IN marker
@@ -2761,27 +2591,25 @@ \section{Shortcuts}
 \begin{lyxlist}{00.00.0000}
 \item [{\keys{\ctrl+M}}] Enter Mastering Mode
 \item [{\keys{\ctrl+I}}] Enter Automation Mode
-\item [{\keys{I}}] Insert Automation (mixer controls and FX parameters
-to envelope points)
+\item [{\keys{I}}] Insert Automation (mixer controls and FX parameters to
+envelope points)
 \item [{\keys{Y}}] Automatically generate a DDP set from items
 \item [{\keys{\ctrl+Y}}] Reposition CD tracks
 \item [{\keys{\ctrl+\arrowkeyleft}}] Shift CD track one track to the left
-\item [{\keys{\ctrl+\arrowkeyright}}] Shift CD track one track to the
-right
+\item [{\keys{\ctrl+\arrowkeyright}}] Shift CD track one track to the right
 \item [{\keys{M}}] Add Marker 
 \item [{\keys{N}}] Open/Close SWS Notes
 \item [{\keys{L}}] Marker List (SWS) 
 \item [{\keys{;}}] Regions from items (SWS) 
 \item [{\keys{:}}] Region from selection 
 \item [{\keys{/}}] Selection to item(s)
-\item [{\keys{C}}] Generate CUE file and album reports from project CD
-markers 
+\item [{\keys{C}}] Generate CUE file and album reports from project CD markers 
 \item [{\keys{R}}] Render 
 \end{lyxlist}
 \textbf{Miscellaneous }
 \begin{lyxlist}{00.00.0000}
-\item [{\keys{F5}}] ReaClassical Preferences (set crossfade length, CD
-track offset, INDEX0 pre-gap length, Album lead-out time)
+\item [{\keys{F5}}] ReaClassical Preferences (set crossfade length, CD track
+offset, INDEX0 pre-gap length, Album lead-out time)
 \item [{\keys{F6}}] Open/Close ReaClassical custom toolbar
 \item [{\keys{H}}] Open ReaClassical help system (currently the PDF manual)
 \item [{\keys{\shift+H}}] Open ReaClassical audio calculator
@@ -2795,78 +2623,80 @@ \section{Shortcuts}
 
 \section{Recommended Free Mastering-Grade Plugins}
 
-First stop: \emph{Reaplugs}, with particular mention of \emph{ReaLimit}
-which I consider one of the best free transparent limiter available.
-You could easily mix and master a whole album using only these fine
-plugins. Others include:
+First stop: \emph{Reaplugs}, with particular mention of \emph{ReaLimit} which I
+consider one of the best free transparent limiter available. You could easily
+mix and master a whole album using only these fine plugins. Others include:
 
 EQ: 
 \begin{itemize}
-\item \textbf{RCChannelEQ} (ReaClassical Channel EQ, included in the ReaClassical
-portable install and available in ReaPack via my \href{https://github.com/chmaha/ReaClassical/raw/main/index.xml}{repository}).
+\item \textbf{RCChannelEQ} (ReaClassical Channel EQ, included in the
+ReaClassical portable install and available in ReaPack via my
+\href{https://github.com/chmaha/ReaClassical/raw/main/index.xml}{repository}).
 Uses DSP from airwindows `Baxandall' and Stillwell's RBJ Highpass/Lowpass
 Filters for broad-strokes EQing.
 \item \textbf{RCMasteringEQ} (ReaClassical Mastering EQ, included in the
-ReaClassical portable install and available in ReaPack via my \href{https://github.com/chmaha/ReaClassical/raw/main/index.xml}{repository}).
-Uses DSP from airwindows `Hull2' with added `Range' drop-down
-(`Classical' or `Full') for transparent, musical, broad-strokes
-EQing.
-\item \textbf{ReEQ }\href{https://forum.cockos.com/showthread.php?t=213501}{https://forum.cockos.com/showthread.php?t=213501}.
-An amazing Fabfilter Pro-Q clone for detailed EQ work. Also comes
-with ReSpectrum which is an excellent analyzer. Both are included
-with the ReaClassical install.
+ReaClassical portable install and available in ReaPack via my
+\href{https://github.com/chmaha/ReaClassical/raw/main/index.xml}{repository}).
+Uses DSP from airwindows `Hull2' with added `Range' drop-down (`Classical' or
+`Full') for transparent, musical, broad-strokes EQing.
+\item \textbf{ReEQ
+}\href{https://forum.cockos.com/showthread.php?t=213501}{https://forum.cockos.com/showthread.php?t=213501}.
+An amazing Fabfilter Pro-Q clone for detailed EQ work. Also comes with
+ReSpectrum which is an excellent analyzer. Both are included with the
+ReaClassical install.
 \end{itemize}
 Compression: 
 \begin{itemize}
-\item \textbf{RCCompressor} (ReaClassical compressor, included in the ReaClassical
-portable install and available in my repository). Uses DSP from Express
-Bus Compressor by Stillwell. Default settings and ranges tuned to
+\item \textbf{RCCompressor} (ReaClassical compressor, included in the
+ReaClassical portable install and available in my repository). Uses DSP from
+Express Bus Compressor by Stillwell. Default settings and ranges tuned to
 classical music with auto release. Use as an insert.
-\item \textbf{RCParallelK} (ReaClassical parallel `Katz' compressor, included
-in the ReaClassical portable install and available in my repository).
-Also uses DSP from Express Bus Compressor by Stillwell to recreate
-the Bob Katz `transparent' parallel compression settings. There's
-only a make-up gain slider as everything else is baked in (-50dB threshold,
-2.5:1 ratio, 1ms attack, peak detection mode). Use on a dedicated
-compressor bus and adjust the gain slider to taste (with the compressor
-signal somewhere between -15dB and -5dB lower than dry signal according
-to Katz).
+\item \textbf{RCParallelK} (ReaClassical parallel `Katz' compressor, included in
+the ReaClassical portable install and available in my repository). Also uses DSP
+from Express Bus Compressor by Stillwell to recreate the Bob Katz `transparent'
+parallel compression settings. There's only a make-up gain slider as everything
+else is baked in (-50dB threshold, 2.5:1 ratio, 1ms attack, peak detection
+mode). Use on a dedicated compressor bus and adjust the gain slider to taste
+(with the compressor signal somewhere between -15dB and -5dB lower than dry
+signal according to Katz).
 \end{itemize}
 Limiter: 
 \begin{itemize}
 \item \textbf{RCLimiter} (ReaClassical limiter, included in the ReaClassical
-portable install and available in my repository). Uses DSP from Smooth
-Limiter by Geraint Luff to which I added 4x oversampling code. Defaults
-are tuned to classical music with true-peak and look-ahead functionality.
-Adjust the release to taste.
+portable install and available in my repository). Uses DSP from Smooth Limiter
+by Geraint Luff to which I added 4x oversampling code. Defaults are tuned to
+classical music with true-peak and look-ahead functionality. Adjust the release
+to taste.
 \end{itemize}
 Reverb: 
 \begin{itemize}
-\item \textbf{Convolution:} Convology XT (also runs perfectly at time of
-writing via yabridge on Linux) coupled with the Samplicity \href{https://samplicity.com/bricasti-m7-impulse-response-files/}{Bricasti M7 impulses}.
-There are other free convolution plugins to use but, whatever the
-plugin choice, the Bricasti impulses in true stereo are fantastic
-and sound almost identical to the presets of the well-regarded Liquidsonics
-Seventh Heaven Professional. 
-\item \textbf{Algorithmic:} For free and open source options try my \href{https://github.com/chmaha/RCverb/releases}{RCVerb}
-or \href{https://github.com/chmaha/Enover/releases/tag/v0.9}{Enover}
-which uses zita-rev1 DSP. For paid options, ValhallaDSP Room and Vintage
-Verb, Fabfilter Pro-R, Voxengo Sobor, Acon Digital Verberate 2 and
-Sonible smart:reverb are all excellent non-iLok options for classical
-music and work seamlessly via yabridge on Linux. Note that the Liquidsonics
-offerings no longer require a physical iLok so can also be used on
-Linux via yabridge and iLok Cloud activation if you are feeling brave.
+\item \textbf{Convolution:} Convology XT (also runs perfectly at time of writing
+via yabridge on Linux) coupled with the Samplicity
+\href{https://samplicity.com/bricasti-m7-impulse-response-files/}{Bricasti M7
+impulses}. There are other free convolution plugins to use but, whatever the
+plugin choice, the Bricasti impulses in true stereo are fantastic and sound
+almost identical to the presets of the well-regarded Liquidsonics Seventh Heaven
+Professional. 
+\item \textbf{Algorithmic:} For free and open source options try my
+\href{https://github.com/chmaha/RCverb/releases}{RCVerb} or
+\href{https://github.com/chmaha/Enover/releases/tag/v0.9}{Enover} which uses
+zita-rev1 DSP. For paid options, ValhallaDSP Room and Vintage Verb, Fabfilter
+Pro-R, Voxengo Sobor, Acon Digital Verberate 2 and Sonible smart:reverb are all
+excellent non-iLok options for classical music and work seamlessly via yabridge
+on Linux. Note that the Liquidsonics offerings no longer require a physical iLok
+so can also be used on Linux via yabridge and iLok Cloud activation if you are
+feeling brave.
 \end{itemize}
 Final mastering magic:
 \begin{itemize}
 \item \textbf{`Sonnox Inflator'-style wave-shaping:} Try \textbf{RCInflator
-Ultimate} (a clone of the Sonnox product) or \textbf{MagicFairyDust}
-on the final stereo bus. Both effects are included in the ReaClassical
-portable install.
+Ultimate} (a clone of the Sonnox product) or \textbf{MagicFairyDust} on the
+final stereo bus. Both effects are included in the ReaClassical portable
+install.
 \item Or, for an easy complete console vibe, use the \textbf{RCConsoleChannel},
-\textbf{RCConsoleBus}, and \textbf{RCConsoleFinalizer} at the end
-of regular tracks, busses and final 2-bus respectively. Note that
-RCConsoleChannel does not have any controls.
+\textbf{RCConsoleBus}, and \textbf{RCConsoleFinalizer} at the end of regular
+tracks, busses and final 2-bus respectively. Note that RCConsoleChannel does not
+have any controls.
 \end{itemize}
 \begin{figure}
 \begin{centering}
@@ -2878,94 +2708,99 @@ \section{Recommended Free Mastering-Grade Plugins}
 
 Restoration: 
 \begin{itemize}
-\item \textbf{Bertom Denoiser} \textbf{Classic} \href{https://www.bertomaudio.com/}{https://www.bertomaudio.com/}.
-\textbf{Denoiser Pro} (\$25) allows for individual per-band thresholds
-and includes an adaptive mode.
+\item \textbf{Bertom Denoiser} \textbf{Classic}
+\href{https://www.bertomaudio.com/}{https://www.bertomaudio.com/}.
+\textbf{Denoiser Pro} (\$25) allows for individual per-band thresholds and
+includes an adaptive mode.
 \item \textbf{RCDeEss Standard }(ReaClassical de-esser, included in the
-ReaClassical portable install and available in my repository). Uses
-DSP from airwindows DeEss.
-\item \textbf{RCDeEss Advanced} (ReaClassical advanced de-esser, included
-in the ReaClassical portable install and available in my repository).
-Uses DSP from airwindows DeBess. 
+ReaClassical portable install and available in my repository). Uses DSP from
+airwindows DeEss.
+\item \textbf{RCDeEss Advanced} (ReaClassical advanced de-esser, included in the
+ReaClassical portable install and available in my repository). Uses DSP from
+airwindows DeBess. 
 \end{itemize}
 Utilities: 
 \begin{itemize}
 \item \textbf{RCGain} (ReaClassical gain plugin, included in the ReaClassical
 portable install and available in my repository). Uses DSP from airwindows
-PurestGain. Useful before or after plugins in lieu of a native channel
-trim knob.
+PurestGain. Useful before or after plugins in lieu of a native channel trim
+knob.
 \item \textbf{JS Loudness Meter Peak/RMS/LUFS} (Cockos) (included with REAPER). 
 \item \textbf{RCTime\&PhaseTool} (ReaClassical timing and phase tool, included
-in the ReaClassical portable install and available in my repository).
-Add to a spot microphone channel. Achieves something similar to Merging's
-PanNoir to correctly align spot microphone channels with the main
-pair based on a fundamental Euclidean geometric relation to create
-a more impactful stereo image.
-\item \textbf{RCMidSide }(ReaClassical mid-side encoder-decoder, included
-in the ReaClassical portable install and available in my repository).
-Use the default decoder mode if wanting to convert recorded mid-side
-to regular left-right stereo.
-\item \textbf{RCDither} (ReaClassical dither plugin, included in the ReaClassical
-portable install and available in my repository). Uses DSP from airwindows
-Not-Just-Another-Dither (Monitoring version) here called \emph{Avant-garde}.
-This just might be the world's finest dither. There's a drop-down
-to select between 16-bit and 24-bit. 
+in the ReaClassical portable install and available in my repository). Add to a
+spot microphone channel. Achieves something similar to Merging's PanNoir to
+correctly align spot microphone channels with the main pair based on a
+fundamental Euclidean geometric relation to create a more impactful stereo
+image.
+\item \textbf{RCMidSide }(ReaClassical mid-side encoder-decoder, included in the
+ReaClassical portable install and available in my repository). Use the default
+decoder mode if wanting to convert recorded mid-side to regular left-right
+stereo.
+\item \textbf{RCDither} (ReaClassical dither plugin, included in the
+ReaClassical portable install and available in my repository). Uses DSP from
+airwindows Not-Just-Another-Dither (Monitoring version) here called
+\emph{Avant-garde}. This just might be the world's finest dither. There's a
+drop-down to select between 16-bit and 24-bit. 
 \end{itemize}
-For descriptions of the other 100+ jsfx airwindows ports (covering
-dithers, compressors, console emulations, saturation/distortion, delays,
-bass-specific, brightness, hard and soft clippers, reverbs, tape/vinyl
-emulations, exciters, stereo wideners, monitoring utilities and more,
-please see the \href{https://forum.cockos.com/showthread.php?t=275301}{dedicated REAPER forums thread}
-and import the \href{https://github.com/chmaha/airwindows-JSFX-ports/raw/main/index.xml}{airwindows JSFX ports}
-repository into ReaPack.\pagebreak{}
+For descriptions of the other 100+ jsfx airwindows ports (covering dithers,
+compressors, console emulations, saturation/distortion, delays, bass-specific,
+brightness, hard and soft clippers, reverbs, tape/vinyl emulations, exciters,
+stereo wideners, monitoring utilities and more, please see the
+\href{https://forum.cockos.com/showthread.php?t=275301}{dedicated REAPER forums
+thread} and import the
+\href{https://github.com/chmaha/airwindows-JSFX-ports/raw/main/index.xml}{airwindows
+JSFX ports} repository into ReaPack.\pagebreak{}
 
 \section{System Tweaks}
 
 \subsection{Windows}
 
-For a modern Windows 10/11 setup, required tweaks are minimal. Ensure
-that you are using `High Performance' or ideally `Ultimate Performance'.
-which, if not available, can be activated by opening a command prompt
-and typing: 
+For a modern Windows 10/11 setup, required tweaks are minimal. Ensure that you
+are using `High Performance' or ideally `Ultimate Performance'. which, if not
+available, can be activated by opening a command prompt and typing: 
 \begin{lstlisting}
 powercfg -duplicatescheme e9a42b02-d5df-448d-aa00-03f14749eb61
 \end{lstlisting}
 
-You can then select it from the usual power plan dialog. For best
-device performance, remember to use the ASIO drivers that were included
-with your audio interface. Consider disabling your network card during
-mission-critical recording. For further tips see Microsoft's \href{https://devblogs.microsoft.com/windows-music-dev/unofficial-windows-10-audio-workstation-build-and-tweak-guide-part-2/}{Unofficial Windows 10 and 11 Audio Workstation build and tweak guide}.
-Of particular interest is Part 3 which discusses what \emph{not} to
-do (including not setting your processor scheduling to `background
-services').
+You can then select it from the usual power plan dialog. For best device
+performance, remember to use the ASIO drivers that were included with your audio
+interface. Consider disabling your network card during mission-critical
+recording. For further tips see Microsoft's
+\href{https://devblogs.microsoft.com/windows-music-dev/unofficial-windows-10-audio-workstation-build-and-tweak-guide-part-2/}{Unofficial
+Windows 10 and 11 Audio Workstation build and tweak guide}. Of particular
+interest is Part 3 which discusses what \emph{not} to do (including not setting
+your processor scheduling to `background services').
 
 \subsection{MacOS}
 
-Performance should be excellent out of the box. Remember to disable
-energy saving (\menu{System Preferences > Energy Saver}) so that
-sessions are not interrupted. Consider disabling your network card
-during mission-critical recording. If you are experiencing any audio
-issues while in your DAW, for tips see Focusrite's \href{https://support.focusrite.com/hc/en-gb/sections/360004958539-Optimisation}{optimization page}.
+Performance should be excellent out of the box. Remember to disable energy
+saving (\menu{System Preferences > Energy Saver}) so that sessions are not
+interrupted. Consider disabling your network card during mission-critical
+recording. If you are experiencing any audio issues while in your DAW, for tips
+see Focusrite's
+\href{https://support.focusrite.com/hc/en-gb/sections/360004958539-Optimisation}{optimization
+page}.
 
 \subsection{GNU/Linux}
 
-Debian-based distro users should read my \href{https://github.com/chmaha/DebianProAudio}{Debian Pro Audio Guide}.
-Those on Arch-based should visit my \href{https://github.com/chmaha/ArchProAudio}{Arch Pro Audio Guide}.
-Performance out of the box on Linux is getting better with every kernel
-release and is on par or better than Windows. As a starting point,
-ensure that your username is set up for realtime privileges (step
-3 in both guides) and that you set several kernel parameters to ensure
-you are running the performance governor, threadirqs and dynamic preempt
-(step 4). To make things even easier, consider using a dedicated audio/video
-distro like AVLinux or Ubuntu Studio where everything is already set
-up for you. \emph{Rea}ClassicalOS is also in the pipeline.
+Debian-based distro users should read my
+\href{https://github.com/chmaha/DebianProAudio}{Debian Pro Audio Guide}. Those
+on Arch-based should visit my \href{https://github.com/chmaha/ArchProAudio}{Arch
+Pro Audio Guide}. Performance out of the box on Linux is getting better with
+every kernel release and is on par or better than Windows. As a starting point,
+ensure that your username is set up for realtime privileges (step 3 in both
+guides) and that you set several kernel parameters to ensure you are running the
+performance governor, threadirqs and dynamic preempt (step 4). To make things
+even easier, consider using a dedicated audio/video distro like AVLinux or
+Ubuntu Studio where everything is already set up for you. \emph{Rea}ClassicalOS
+is also in the pipeline.
 
 \subsection{Cross-platform}
 
 The good news is that REAPER and ReaClassical run on nine different
-architectures. You should always be able to open up a project on another
-machine even if it is running a different OS. Plus, ReaClassical includes
-various mastering-grade plugins in JSFX format that run on all architectures. 
+architectures. You should always be able to open up a project on another machine
+even if it is running a different OS. Plus, ReaClassical includes various
+mastering-grade plugins in JSFX format that run on all architectures. 
 
 \pagebreak{}
 
@@ -2974,197 +2809,163 @@ \section{Manual Installation \& Tweaks}
 \noindent (ideally for research only or if you already have a heavily-customized
 REAPER setup and wish to add all or just parts of ReaClassical)
 \begin{itemize}
-\item \begin{flushleft}
-REAPER (obviously) 
-\par\end{flushleft}
-\item \begin{flushleft}
-SWS/S\&M Extension
-\par\end{flushleft}
-\item \begin{flushleft}
-ReaPack 
-\par\end{flushleft}
-\item \begin{flushleft}
-ReaClassical metapackage (includes ReaClassical default project template,
-custom themes and PDF manual)
-\par\end{flushleft}
-\item \begin{flushleft}
-ReaClassical \href{https://github.com/chmaha/ReaClassical/raw/main/Resource\%2520Folders/Resource_Folder_Base.zip}{Resource folder base} 
-\par\end{flushleft}
+\item \begin{flushleft} REAPER (obviously) \par\end{flushleft}
+\item \begin{flushleft} SWS/S\&M Extension \par\end{flushleft}
+\item \begin{flushleft} ReaPack \par\end{flushleft}
+\item \begin{flushleft} ReaClassical metapackage (includes ReaClassical default
+project template, custom themes and PDF manual) \par\end{flushleft}
+\item \begin{flushleft} ReaClassical
+\href{https://github.com/chmaha/ReaClassical/raw/main/Resource\%2520Folders/Resource_Folder_Base.zip}{Resource
+folder base} \par\end{flushleft}
 
 \end{itemize}
-\noindent\begin{flushleft}
-So, the first thing is to install \href{https://www.reaper.fm/download.php}{REAPER}.
-I'll let you figure that out yourself. Next, install
-\href{https://reapack.com/}{ReaPack} into the UserPlugins subfolder
-inside the REAPER resource path. Then install SWS/S\&M Extension either
-via ReaPack or by downloading the appropriate installer at \href{https://www.sws-extension.org/download/pre-release/}{SWS/S\&M Extension (bleeding edge)}.
-Once that's done, start/restart REAPER. You'll
-then want to download the following from inside of ReaPack:
-\par\end{flushleft}
+\noindent\begin{flushleft} So, the first thing is to install
+\href{https://www.reaper.fm/download.php}{REAPER}. I'll let you figure that out
+yourself. Next, install \href{https://reapack.com/}{ReaPack} into the
+UserPlugins subfolder inside the REAPER resource path. Then install SWS/S\&M
+Extension either via ReaPack or by downloading the appropriate installer at
+\href{https://www.sws-extension.org/download/pre-release/}{SWS/S\&M Extension
+(bleeding edge)}. Once that's done, start/restart REAPER. You'll then want to
+download the following from inside of ReaPack: \par\end{flushleft}
 \begin{itemize}
-\item \begin{flushleft}
-ReaClassical\\
-(by importing my \href{https://github.com/chmaha/ReaClassical/raw/main/index.xml}{index.xml}
-into ReaPack then searching for `ReaClassical')
-\par\end{flushleft}
-\item Various ReaClassical JSFX plugins (after importing my repository,
-search ReaPack for `RCPlugs')
+\item \begin{flushleft} ReaClassical\\
+(by importing my
+\href{https://github.com/chmaha/ReaClassical/raw/main/index.xml}{index.xml} into
+ReaPack then searching for `ReaClassical') \par\end{flushleft}
+\item Various ReaClassical JSFX plugins (after importing my repository, search
+ReaPack for `RCPlugs')
 \end{itemize}
 \noindent Now, extract the contents of the resource folder base somewhere
-outside of your REAPER install. You need to import one of the key
-map files from the KeyMap folder (Use `ReaClassical' for a partial
-keymap covering the functions or `Full\_Classical\_DAW' for the
-complete experience!). It's worth stating here in the
-main text my warning about backing up your own REAPER configuration
-before importing mine in case you want to get back to where you were.
+outside of your REAPER install. You need to import one of the key map files from
+the KeyMap folder (Use `ReaClassical' for a partial keymap covering the
+functions or `Full\_Classical\_DAW' for the complete experience!). It's worth
+stating here in the main text my warning about backing up your own REAPER
+configuration before importing mine in case you want to get back to where you
+were.
 
 \subsection{ReaClassical Custom Toolbar}
 
-\noindent In order to install the toolbar, copy ReaClassical.ReaperMenu
-from MenuSets to the same folder inside your REAPER resource path.
-Next copy the icons from Data/toolbar\_icons to the same folder inside
-your REAPER install.
-\noindent\begin{flushleft}
-In REAPER, right-click on an empty part of the main toolbar and select
-toolbar 1 (either open or float it). Select Import/Export in the top
-right corner and select the ReaClassical.ReaperMenu file. You should
-then see menu items and associated icons!
-\par\end{flushleft}
+\noindent In order to install the toolbar, copy ReaClassical.ReaperMenu from
+MenuSets to the same folder inside your REAPER resource path. Next copy the
+icons from Data/toolbar\_icons to the same folder inside your REAPER install.
+\noindent\begin{flushleft} In REAPER, right-click on an empty part of the main
+toolbar and select toolbar 1 (either open or float it). Select Import/Export in
+the top right corner and select the ReaClassical.ReaperMenu file. You should
+then see menu items and associated icons! \par\end{flushleft}
 
 \subsection{Things to do after installing }
 
 \subsubsection{Main arrange window }
 \begin{itemize}
-\item \begin{flushleft}
-\textsc{Uncheck} Auto-crossfade, grid lines (optional), snap\footnote{We will prepare some snap settings later for adding CD markers but
+\item \begin{flushleft} \textsc{Uncheck} Auto-crossfade, grid lines (optional),
+snap\footnote{We will prepare some snap settings later for adding CD markers but
 for now we don't want dragging etc to be constrained.} buttons
 \par\end{flushleft}
-\item \begin{flushleft}
-\textsc{Check} Ripple editing per-track (as opposed to ripple edit all
-tracks), Item edit grouping, move envelope points with media items.
-See figure \ref{Ripple-editing-per-track}
-\par\end{flushleft}
+\item \begin{flushleft} \textsc{Check} Ripple editing per-track (as opposed to
+ripple edit all tracks), Item edit grouping, move envelope points with media
+items. See figure \ref{Ripple-editing-per-track} \par\end{flushleft}
 
 \end{itemize}
 \begin{figure}
 \begin{centering}
 \includegraphics[scale=0.75]{user_guide_images/reaper_default_toolbar}
 \par\end{centering}
-\centering{}\caption{\label{Ripple-editing-per-track}\textquotedblleft Ripple editing
-per-track\textquotedblright , \textquotedblleft Item edit grouping\textquotedblright{}
-and \textquotedblleft move envelope points with media items\textquotedblright{}
-engaged...}
+\centering{}\caption{\label{Ripple-editing-per-track}\textquotedblleft Ripple
+editing per-track\textquotedblright , \textquotedblleft Item edit
+grouping\textquotedblright{} and \textquotedblleft move envelope points with
+media items\textquotedblright{} engaged...}
 \end{figure}
 
 
 \subsubsection{Preferences }
-\noindent\begin{flushleft}
-Some of these options are essential for the functions to work as expected.
-Others are just recommended. 
-\par\end{flushleft}
+\noindent\begin{flushleft} Some of these options are essential for the functions
+to work as expected. Others are just recommended. \par\end{flushleft}
 
 \subparagraph{Project > Item Fade Defaults }
 \begin{itemize}
-\item \begin{flushleft}
-\textsc{Enable} Create automatic fade-in/fade-out for new items, length:
-0:00.010
-\par\end{flushleft}
-\item \begin{flushleft}
-\textsc{Enable} Overlap and crossfade items when splitting, length:
-0:00.010 
-\par\end{flushleft}
-\item \begin{flushleft}
-\textsc{Enable} Overlap and crossfade media when finalizing razor edits 
-\par\end{flushleft}
+\item \begin{flushleft} \textsc{Enable} Create automatic fade-in/fade-out for
+new items, length: 0:00.010 \par\end{flushleft}
+\item \begin{flushleft} \textsc{Enable} Overlap and crossfade items when
+splitting, length: 0:00.010 \par\end{flushleft}
+\item \begin{flushleft} \textsc{Enable} Overlap and crossfade media when
+finalizing razor edits \par\end{flushleft}
 \end{itemize}
 
 \subparagraph{Appearance > Peaks/Waveforms }
 \begin{itemize}
-\item \begin{flushleft}
-\textsc{Uncheck} Draw faint peaks in folder tracks
+\item \begin{flushleft} \textsc{Uncheck} Draw faint peaks in folder tracks
 \par\end{flushleft}
 \end{itemize}
 
 \subparagraph{Appearance > Fades/Crossfades }
 \begin{itemize}
-\item \begin{flushleft}
-\textsc{Enable} When editing crossfades with the mouse, use crossfade
-editor theme colors 
-\par\end{flushleft}
+\item \begin{flushleft} \textsc{Enable} When editing crossfades with the mouse,
+use crossfade editor theme colors \par\end{flushleft}
 \end{itemize}
 
 \subparagraph{Appearance > Track Control Panels}
 \begin{itemize}
-\item \begin{flushleft}
-\textsc{Ensure} Folder collapse button cycles track heights is set to
-`Normal, small, collapsed`. 
-\par\end{flushleft}
+\item \begin{flushleft} \textsc{Ensure} Folder collapse button cycles track
+heights is set to `Normal, small, collapsed`. \par\end{flushleft}
 \end{itemize}
 
 \subparagraph{Appearance > Zoom/Scroll/Offset}
 \begin{itemize}
-\item \begin{flushleft}
-\textsc{Change} Offset by\dots percent of item height to 100\footnote{In REAPER versions prior to 6.54, these options don't exist. Instead,
-under \emph{Appearances}, you need to change \emph{Maximum number
-of lanes, when showing overlapping items} to 2}
-\par\end{flushleft}
+\item \begin{flushleft} \textsc{Change} Offset by\dots percent of item height to
+100\footnote{In REAPER versions prior to 6.54, these options don't exist.
+Instead, under \emph{Appearances}, you need to change \emph{Maximum number of
+lanes, when showing overlapping items} to 2} \par\end{flushleft}
 \item \textsc{Check} Draw as opaque
 \end{itemize}
 
 \subparagraph{Editing Behavior}
 \begin{itemize}
 \item \textsc{Set }Locked item ripple editing behavior to `Locked items are
-unaffected by ripple'\footnote{Technically not necessary as it is now checked and set at the start
-of ripple-capable functions.}
+unaffected by ripple'\footnote{Technically not necessary as it is now checked
+and set at the start of ripple-capable functions.}
 \end{itemize}
 
 \subparagraph{Editing Behavior > Mouse Modifiers}
 \begin{itemize}
-\item \textsc{Change }Razor edit area left drag default to `Move areas, disabling
-ripple edit'
+\item \textsc{Change }Razor edit area left drag default to `Move areas,
+disabling ripple edit'
 \end{itemize}
 
 \subsubsection{Project Settings }
 \begin{itemize}
-\item \begin{flushleft}
-\textsc{Change} Video > Frame rate to 75\footnote{The number of frames per second for red-book CDs.}
-\par\end{flushleft}
-\item \begin{flushleft}
-\textsc{Change} Render resample mode to r8brain free (highest quality,
-fast)
-\par\end{flushleft}
+\item \begin{flushleft} \textsc{Change} Video > Frame rate to 75\footnote{The
+number of frames per second for red-book CDs.} \par\end{flushleft}
+\item \begin{flushleft} \textsc{Change} Render resample mode to r8brain free
+(highest quality, fast) \par\end{flushleft}
 \end{itemize}
 
 \subsubsection{Theme Tweak}
 \begin{itemize}
-\item \begin{flushleft}
-Using the ``Theme development: Show theme tweak/configuration window''
-action, search for ``mute'' and change the alpha blend to 0.00.
-See figure \ref{Setting-mute-overlay}.
-\par\end{flushleft}
-\item Set the super-collapsed value to 0 in rtconfig.txt. See figure \ref{fig:Super-collapsed-value-is}.
+\item \begin{flushleft} Using the ``Theme development: Show theme
+tweak/configuration window'' action, search for ``mute'' and change the alpha
+blend to 0.00. See figure \ref{Setting-mute-overlay}. \par\end{flushleft}
+\item Set the super-collapsed value to 0 in rtconfig.txt. See figure
+\ref{fig:Super-collapsed-value-is}.
 \end{itemize}
 \begin{flushleft}
 \begin{figure}
 \begin{centering}
 \includegraphics[width=1\linewidth]{\string"user_guide_images/theme tweak\string".png}
-\par\end{centering}
-\caption{\label{Setting-mute-overlay}Setting mute overlay mode}
+\par\end{centering} \caption{\label{Setting-mute-overlay}Setting mute overlay
+mode}
 \end{figure}
 \par\end{flushleft}
 
 \begin{figure}
 \begin{centering}
 \includegraphics[width=1\linewidth]{user_guide_images/super-collapsed}
-\par\end{centering}
-\caption{\label{fig:Super-collapsed-value-is}Super-collapsed value is set
-to 0 in rtconfig.txt}
+\par\end{centering} \caption{\label{fig:Super-collapsed-value-is}Super-collapsed
+value is set to 0 in rtconfig.txt}
 \end{figure}
 
-\noindent\begin{flushleft}
-At this point it might be a good idea to Save as default project settings
-as well as make a classical template (if you didn't download mine)
-so that you don't have to do this setup more than once.
+\noindent\begin{flushleft} At this point it might be a good idea to Save as
+default project settings as well as make a classical template (if you didn't
+download mine) so that you don't have to do this setup more than once.
 \par\end{flushleft}
 
 \pagebreak\includepdf{cover-back}