diff --git a/PDF_Guide/ReaClassical User Guide.lyx b/PDF_Guide/ReaClassical User Guide.lyx index f61121c8..bb333c85 100644 --- a/PDF_Guide/ReaClassical User Guide.lyx +++ b/PDF_Guide/ReaClassical User Guide.lyx @@ -740,78 +740,455 @@ ReaClassical Workflows Creating & Setting Up a Project \end_layout +\begin_layout Standard +When you start REAPER/ReaClassical from a default portable install, you'll + see an empty project with ReaClassical project defaults. +\end_layout + +\begin_layout Subsection +Project Settings +\end_layout + +\begin_layout Standard +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 +\begin_inset Quotes bld +\end_inset + +media +\begin_inset Quotes brd +\end_inset + + subfolder. + The default recording format is 32-bit float wave files. + 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 +\begin_inset Quotes bld +\end_inset + +notes +\begin_inset Quotes brd +\end_inset + + section with a title, author and notes as desired. +\end_layout + \begin_layout Subsection Audio Settings \end_layout +\begin_layout Standard +These settings are operating system dependent. + Choice of blocksize etc is also dependent on need and how modern and/or + optimised 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: + +\emph on +Classical Recording: A Practical Guide in the Decca Tradition +\emph default +\noun on + +\noun default +by Haigh, Dunkerley & Rogers, +\emph on +Recording Orchestra and Other Classical Music Ensembles +\emph default + by Richard King or +\emph on +Recording Classical Music +\emph default + by Robert Toft. + For a more detailed look at mastering (for any genre of music), I highly + recommend +\emph on +Mastering Audio: The Art and the Science +\emph default + by Bob Katz. + +\end_layout + \begin_layout Subsection ReaClassical Preferences \end_layout -\begin_layout Subsection -Horizontal Workflow +\begin_layout Standard +Pressing F5 brings up the ReaClassical Preferences dialog. + The first line sets the crossfade length in milliseconds for all source-destina +tion editing. + The three remaining lines are for +\begin_inset CommandInset href +LatexCommand href +name "DDP" +target "https://en.wikipedia.org/wiki/Disc_Description_Protocol" +literal "false" + +\end_inset + + 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 +\begin_inset Quotes bld +\end_inset + +countdown +\begin_inset Quotes brd +\end_inset + + 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 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, leave everything as defaults. \end_layout \begin_layout Subsection +Choice of Workflow +\end_layout + +\begin_layout Standard +The choice between what I refer to as +\begin_inset Quotes bld +\end_inset + +vertical +\begin_inset Quotes brd +\end_inset + + or +\begin_inset Quotes bld +\end_inset + +horizontal +\begin_inset Quotes brd +\end_inset + + 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 everything else, I recommend using the vertical approach. +\end_layout + +\begin_layout Subsubsection Vertical Workflow \end_layout -\begin_layout Section -Navigating a Project +\begin_layout Standard +In this approach, the source and destination track groups are aligned vertically + so that the user doesn't have to shuttle back and forth along the timeline + for placing source-destination markers. + \end_layout -\begin_layout Subsection -Whole Project +\begin_layout Standard + +\series bold +When Recording material: +\series default + To begin with a vertical workflow, press F7 to set up a destination track + group. + Whether recording or importing, simply type in the total number of stereo + and mono microphone inputs you need. + I highly recommend using the first track for the main stereo pair. + \end_layout -\begin_layout Subsection -Items & Markers +\begin_layout Standard + +\series bold +When importing material: +\series default + To begin with a vertical workflow, press 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 tracks you need. + I highly recommend using the first track for the main stereo pair. + \end_layout -\begin_layout Subsection -Parents & Children +\begin_layout Standard +The F8 function creates six source groups based off the destination track + group, links the volume, panning, polarity, mute, automation trim and hides + everything in the mixer save for the first folder group. + In other words, you can simultaneously control volume, panning, polarity + and automation across all takes. + It 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 +\backslash + shortcut. + but note that using F9 (Classical Take Record) creates a new source group + as needed after ending recording. \end_layout -\begin_layout Subsection -Peaks Display +\begin_layout Standard +A typical scenario: You have vertically recorded, or vertically prepared, + multiple takes of a concerto movement with 10 channels. + You realise 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. + Under normal circumstances moving one pan knob or fader would only affect + that one group's channel. + The ideal situation would be that changing a value on one channel would + affect every other take in the same way, making comparing source material + uniform in volume and panning. + With the ReaClassical vertical workflow approach, this becomes a reality + automatically! \end_layout -\begin_layout Subsection -ReaClassical Toolbar +\begin_layout Subsubsection +Horizontal Workflow +\end_layout + +\begin_layout Standard +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. + +\end_layout + +\begin_layout Standard +To begin a horizontal workflow, press F7 to set up a track group. + Whether recording or importing, simply type in the number of tracks or + microphone inputs you need. + I highly recommend using the first track for the main stereo pair. + +\end_layout + +\begin_layout Standard +If you wish to convert to a vertical workflow, simply press F8 to create + six linked destination groups. \end_layout \begin_layout Section Recording \end_layout +\begin_layout Standard +Now that you have decided on a workflow, we can set up the tracks for recording. +\end_layout + \begin_layout Subsection Setting Inputs \end_layout +\begin_layout Standard +There are multiple ways to set recording inputs on REAPER. + First is to click on the input at the top of the mixer channel. + Second, you can left-click on the meter part of the track panel. + Third, you can press Alt+R to open the routing matrix. + Once you have set the inputs for the source group, simply press F8 to sync + these settings to all destination groups. +\end_layout + \begin_layout Subsection Headroom \end_layout +\begin_layout Standard +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. +\end_layout + \begin_layout Subsection Classical Recording \end_layout +\begin_layout Standard +F9 begins +\begin_inset Quotes bld +\end_inset + +classical +\begin_inset Quotes brd +\end_inset + + recording mode for whatever parent track is selected. + You'll notice that the mixer intelligently selects the affected tracks + and all tracks in the group are armed begin recording. + To stop, press F9 again. + This also automatically moves to, solos and arms the next available group. + ReaClassical will automatically create new groups as required. + To manually add more destination groups when not recording, press +\backslash + (backslash). +\end_layout + \begin_layout Subsection General Recording \end_layout +\begin_layout Standard +To record for a horizontal workflow or more generally (say a separate single + mono narration track or similar), use the built-in REAPER record function + arm the track(s) and then either press Ctrl+R or use the red record button. +\end_layout + \begin_layout Section Importing \end_layout +\begin_layout Standard +If you acting solely as editor and have the audio ready to import into ReaClassi +cal. + +\end_layout + \begin_layout Subsection Importing Media \end_layout +\begin_layout Standard +Set up the horizontal or vertical workflow as desired. + Then either drag the audio into the REAPER window or select +\emph on +Insert > Media file... +\end_layout + +\begin_layout Standard +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/ +dragged 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 destination + groups as desired. +\end_layout + \begin_layout Subsection Multi-Channel Audio Import \end_layout +\begin_layout Standard +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. + Simply select one or more multi-channel sets and press F10. + 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 folder will adjust + accordingly. + If the user selects ‘no’ to keep all tracks mono, the folder track is left + empty so that the Prepare Takes (T) script is able to create a muted guide + track (more on this later!). + It's important to note is that to use the Explode multi-channel item script + you should import your multi-channel items into one folder track lined + up horizontally before running the script. + You can then drag to source groups afterwards. +\end_layout + +\begin_layout Section +Navigating a Project +\end_layout + +\begin_layout Standard +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 a lay + of the land, tidy up the digital notes I took during the session and perform + a backup on an external drive as soon as possible. +\end_layout + +\begin_layout Subsection +Whole Project +\end_layout + +\begin_layout Standard +Use ` (backtick) to see the whole project horizontally and/or 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. + You can also go to the start and end of the project by pressing the Home + or End key. + +\end_layout + +\begin_layout Subsection +Items & Markers +\end_layout + +\begin_layout Standard +You can easily shuffle back and forth between items and markers by using + the Q and W keys. + You can move between markers by using the , and . + keys. + The TAB key moves to a selected item's highest peak value. +\end_layout + +\begin_layout Subsection +Parents & Children +\end_layout + +\begin_layout Standard +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 synchronised. + To show hidden children select the parent track and press D (for +\begin_inset Quotes bld +\end_inset + +display +\begin_inset Quotes brd +\end_inset + +). + To hide, select the parent track and press E (for +\begin_inset Quotes bld +\end_inset + + +\begin_inset CommandInset href +LatexCommand href +name "ensconce" +target "https://www.merriam-webster.com/dictionary/ensconce" +literal "false" + +\end_inset + + +\begin_inset Quotes brd +\end_inset + +). + The other benefit is that a whole set of takes can be displayed vertically + in the main editing window without too much effort. + +\end_layout + +\begin_layout Subsection +Peaks Display +\end_layout + +\begin_layout Standard +To adjust the visual zoom or wave peaks, use Ctrl+Up arrow and Ctrl+Down + arrow. + This is purely visual and allows for easier editing of quieter sections. +\end_layout + +\begin_layout Subsection +ReaClassical Toolbar +\end_layout + +\begin_layout Standard +While I designed ReaClassical to be used efficiently with keyboard shortcuts, + there is a custom toolbar for those that prefer it. + However I do highly recommend learning the key strokes as you will find + your editing speeds improve dramatically. +\end_layout + \begin_layout Section Editing \end_layout @@ -820,46 +1197,407 @@ Editing Introduction to Editing Workflows \end_layout +\begin_layout Standard +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 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 script + 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 script. +\end_layout + \begin_layout Subsection Marking Edits on your Scores \end_layout +\begin_layout Standard +This is best done using a physical, photocopied score by the conductor or + lead musician. + I advocate for a “T” 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 tightenin +g the gap etc. +\end_layout + \begin_layout Subsection Preparing Takes \end_layout +\begin_layout Standard +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 the shortcut T (for +\begin_inset Quotes bld +\end_inset + +Takes +\begin_inset Quotes brd +\end_inset + +). + Super simple! Every set of items comprising a take has changed colour, + is now grouped. + In addition, source and destination groups are linked or (re-linked) for + various types of editing and imported/recorded take names removed if desired. + +\end_layout + +\begin_layout Standard +For horizontally laid-out takes, each complete take is coloured with a different + random colour. + For vertically laid-out takes, each folder’s items are given a different + random colour. + This way, however you work, it’s easy to see where edits have come from. + If you imported or recorded all your files in child tracks, the script + 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. + Note that if there are existing item overlaps and/or fades in the first + track, Prepare Takes will be mainly disabled and only allow you to remove + take names (in preparation for creation of CD markers). + This is a safety feature given grouping already crossfaded items can lead + to unexpected editing results. +\end_layout + \begin_layout Subsection Auditioning Takes \end_layout +\begin_layout Standard +For horizontal editing, you can use the usual transport shortcuts (spacebar + to start and stop playback, for example). + For vertical (and horizontal) editing, it is highly recommended to use + the Audition (A) script to quickly solo only the folder (or track) you + are interested in hearing. + Note that similar to the *Classical Take Record* function, the tracks shown + in the mixer are filtered based on what is being auditioned. +\end_layout + \begin_layout Subsection Source-Destination Editing \end_layout +\begin_layout Standard +You set your in-out points using special coloured labelled markers I created + with shortcuts 1 and 2 (Destination) and 3 and 4 (Source). + Simply press the shortcut 5 to make the 3 or 4-point edit. + You’ll also notice that because you prepared the various takes with colours + (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 scripts 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 (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. +\end_layout + +\begin_layout Standard +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 track panel or on the item itself. + 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. +\end_layout + +\begin_layout Standard +You can complete 3-point editing either using “insert” or “replace” methods + with just the destination IN marker set (and both source markers!). + “Insert” 3-point edits ripple pastes the source material at the destination + IN marker and “Replace” 3-point edits replaces the destination material + with the length of the material between the two source markers. + As usual, short equal-power crossfades are created at all edit points. +\end_layout + +\begin_layout Standard +To choose between “insert” or “replace” 3-point edits, toggle the ReaClassical_3 +-point edit replace.lua script to ON for “replace” and OFF “insert”. + Even better: use the custom classical toolbar as described above or F3 + shortcut. +\end_layout + +\begin_layout Standard +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. +\end_layout + \begin_layout Subsection Other SD Functions \end_layout -\begin_layout Subsection -Horizontal Editing +\begin_layout Standard +Using the *ReaClassical_Insert with timestretching* script (F4), you can + complete a 4-point edit where the material between the source markers is + timestretched 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 timestretch 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. \end_layout -\begin_layout Subsection -Vertical Editing +\begin_layout Standard +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, use a 3-point edit (most likely you want it set to “insert” + mode). + A standard 3-point insert edit will happen 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. +\end_layout + +\begin_layout Standard +While perhaps not used as often as 3- and 4-point edits, I have created + two scripts for deletion of material. + Delete & Ripple (Backspace) will delete the material between source IN + and OUT markers and ripple material to the right backwards with a short + crossfade. + Delete Silence (Ctrl+Backspace) will also delete but maintain the silence + without rippling backwards. \end_layout \begin_layout Subsection Razor Editing \end_layout +\begin_layout Standard +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 +\begin_inset CommandInset href +LatexCommand href +name "video" +target "https://www.youtube.com/watch?v=wQXwnvITQCQ" +literal "false" + +\end_inset + +. +\end_layout + +\begin_layout Standard +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 but 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) + but thankfully it can become the default editing mode by running either + running the I shortcut or selecting the Razor edit mode on the main toolbar. + +\end_layout + \begin_layout Subsection Crossfade Editor \end_layout +\begin_layout Standard +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 + a good listen and the help of the crossfade editor view. +\end_layout + +\begin_layout Standard +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 left-hand item of a fade, Press F and you are moved into crossfade + editor mode. + Here, the first track is given full vertical zoom, the two-lanes for overlappin +g 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 centred on the crossfade and can use + the mouse wheel to zoom in and out. + Press 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 the F shortcut. +\end_layout + +\begin_layout Standard +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 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 X (classical crossfade) and I’m done! The crossfade happens + at the location of the edit cursor (well, just before it as explained above). + +\end_layout + +\begin_layout Standard +I love this method so much that I don’t miss Sequoia or Pyramix any more. + Here it is in ordered list form: +\end_layout + +\begin_layout Enumerate +Increase overlap (by hovering mouse in blank area and pressing Z shortcut) +\end_layout + +\begin_layout Enumerate +Find transient in red left item that you want be edit point +\end_layout + +\begin_layout Enumerate +Place edit cursor just before it +\end_layout + +\begin_layout Enumerate +Drag green right item to align transients (this automatically ripples all + items, markers and regions) +\end_layout + +\begin_layout Enumerate +Press X (classical crossfade) +\end_layout + +\begin_layout Standard +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 Ctrl+Z + combination or simply extend the overlapping item edges again then create + a new classical crossfade. +\end_layout + +\begin_layout Standard +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: +\end_layout + +\begin_layout Enumerate +Hover over left item / press A to solo audition the left item from mouse + cursor to end of item +\end_layout + +\begin_layout Enumerate +Hover over right item / press A to solo audition the right item from start + of item to mouse cursor +\end_layout + +\begin_layout Enumerate +Hover in blank space on left item side / press A to solo audition the crossfade + from mouse cursor to mirrored position on the other side of the crossfade +\end_layout + +\begin_layout Enumerate +Hover in blank space on right item side / press A to solo audition the crossfade + from mirrored position other side to the mouse cursor. +\end_layout + +\begin_layout Standard +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 script 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 centred. + 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. +\end_layout + +\begin_layout Standard +You can shuttle between crossfades using the Q and W shortcuts. + Do +\series bold +NOT +\series default + 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). +\end_layout + \begin_layout Subsection Other Editing Tips \end_layout +\begin_layout Standard +In my key map, I include all sorts of useful shortcuts to use during editing. + As mentioned above, in vertical editing workflows, the Audition (via shortcut + A) is brilliant for listening to various takes before applying a razor + or S/D edit. + I can shuttle between items with Q and W (the same keys perform a more + advanced role when in crossfade editor mode), shuttle between markers with + , and . + (the same keys with +\backslash +< and +\backslash +> on them on my UK keyboard), S for splitting a long recorded session into + takes, ‘ (back tick) and 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. +\end_layout + +\begin_layout Standard +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* script (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 behaviour which is useful for destination album + track spacing etc. + However, I consider this script deprecated given I strongly feel that the + Create CD Markers script is now the ultimate way to deal with CD tracks/markers. +\end_layout + \begin_layout Section Mixing \end_layout @@ -868,18 +1606,87 @@ Mixing FX Plugins \end_layout +\begin_layout Standard +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 the Appendix. + For the purposes of the ReaClassical manual, you should add plugins to + the destination group tracks and then press F8 to sync across all source + groups. + Most often my editing is done with no plugins enabled so that I can hear + all the detail clearly. + In my case, plugins are not generally added until the +\begin_inset Quotes bld +\end_inset + +mastering +\begin_inset Quotes brd +\end_inset + + stage. + +\end_layout + \begin_layout Subsection Aux & Submix \end_layout +\begin_layout Standard +As of ReaClassical v23.19, users have the ability to create aux and submix + tracks that stay visible (and stay after the source groups). + To set up, simply create a single folder (F7) and/or Create Source Groups + (F8) then create as many aux/submix tracks after the source groups as you + like via the *Add Aux or submix* script. + If adding manually, be sure to prefix the track which an ampersand (@). + When using any of the scripts that use intelligent mixer view (Audition, + Create Source Groups (creating source groups from a single folder or syncing + fx and routing), Classical Take Record, Duplicate Folder) these tracks + will stay visible. + Plus, any routing from the destination parent or child tracks to these + tracks will be honored when syncing the fx and routing! +\end_layout + \begin_layout Subsection Roomtone \end_layout +\begin_layout Standard +Description coming soon... +\end_layout + \begin_layout Section Mastering \end_layout +\begin_layout Standard +This has the potential to be a long section but I don’t want it to detract + from the main event: the S/D or razor editing workflows. + A few pointers are in order though. + In order to have CD markers that snap to CD frames, now is a great time + to enable snapping (to frame) if adding them manually. + +\end_layout + +\begin_layout Standard +And then, of course, you can now quickly generate separate files via rendering + all project regions or selected regions using a wildcard formula such as + *$regionnumber - $region*. + I include various useful presets in the render dialog. + For those who insist on the absolute best resampling the world has to offer, + export your WAV+CUE at highest resolution at 32-bit float and use a program + like Saracon or FinalCD to get down to 44.1k/16-bit before generating the + rest of your files in EZ CD Audio Converter (Windows), Fre:ac (all platforms) + or similar[^8]. + Alternatively, you can bring a long converted 44.1/32-bit float WAV back + into a cloned project not forgetting to change the sample rate of the project + to match. + A lot of engineers use standard TPDF dither but you can always bring your + favourite 3rd-party plugin to the party (as long as it is the final plugin + on your master chain and your master fader remains at unity). + I include a large number of world-class airwindows dither options in my + other large jsfx collection available via my [airwindows JSFX ports] +\end_layout + \begin_layout Subsection Repositioning Tracks in an Album \end_layout @@ -888,6 +1695,16 @@ Repositioning Tracks in an Album Loudness \end_layout +\begin_layout Standard +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. +\end_layout + \begin_layout Subsection Metadata \end_layout @@ -896,14 +1713,68 @@ Metadata Creating DDP filesets \end_layout +\begin_layout Standard +I have introduced a workflow to automatically add the CD/DDP markers and + regions via Y shortcut (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 ‘smart’ in the sense that if there’s no take name, no marker or region + will be created. + In other words, press 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. + Preferences such as CD marker offset, pregap and album lead-out can be + set via ReaClassical Project Preferences (F5). + So it’s now very quick to export a DDP set! +\end_layout + \begin_layout Subsection Creating CUE Files \end_layout +\begin_layout Standard +A CUE file can be generated via the shortcut C (to need create a time selection). + The high-resolution audio portion can be generated separately in the render + dialog via the preset. + +\end_layout + +\begin_layout Subsection +BIN+CUE set +\end_layout + +\begin_layout Standard +Create a BIN/CUE pair (either select +\begin_inset Quotes bld +\end_inset + +regions define tracks’ and render the whole project or select +\begin_inset Quotes bld +\end_inset + +use only # markers +\begin_inset Quotes brd +\end_inset + + and render by time selection if you don’t want the first pregap as actual + silence at the start of track 1). + +\end_layout + \begin_layout Subsection Album Reports \end_layout +\begin_layout Standard +When using the C shortcut, ReaClassical also generates both a plaintext + 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. +\end_layout + \begin_layout Section Rendering \end_layout @@ -912,22 +1783,79 @@ Rendering Presets \end_layout +\begin_layout Standard +Coming soon... +\end_layout + \begin_layout Subsection Format \end_layout +\begin_layout Standard +Coming soon... +\end_layout + \begin_layout Subsection Samplerate \end_layout +\begin_layout Standard +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[^9] + creation, without leaving my favourite DAW. + However, the Marker to CUE function (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. +\end_layout + \begin_layout Subsection Dither \end_layout +\begin_layout Standard +Use either the built-in REAPER dither options or RCDither as the last plugin + on the master chain (being sure to keep the master fader at unity and disable + all REAPER dither checkboxes). +\end_layout + \begin_layout Subsection Loudness & Limiting \end_layout +\begin_layout Standard +REAPER has a fantastic rendering feature... +\end_layout + +\begin_layout Subsection +Other Rendering Tips +\end_layout + +\begin_layout Standard +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. +\end_layout + +\begin_layout Standard +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-destin +ation 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. +\end_layout + \begin_layout Section Project Management \end_layout @@ -936,18 +1864,45 @@ Project Management Typing Notes \end_layout +\begin_layout Standard +Document your takes either using the built-in REAPER project notes or SWS + Notes (N) 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. +\end_layout + \begin_layout Subsection Folder Structure \end_layout +\begin_layout Standard +ReaClassical defaults to the following folder structure. +\end_layout + +\begin_layout Subsection +Automatic Backups +\end_layout + +\begin_layout Standard +REAPER allows for powerful and complex backup routines. +\end_layout + \begin_layout Subsection Cleaning \end_layout +\begin_layout Standard +If in doubt, keep everything. +\end_layout + \begin_layout Subsection Archiving \end_layout +\begin_layout Standard +There are various ways to archive classical music projects. +\end_layout + \begin_layout Standard \begin_inset Newpage pagebreak \end_inset