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REAPER Plus!

The Power of SWS Extensions


by
Geoffrey Francis
Version 1..1
A!ril "#1#
This guide will be updated regularly as the software itself is further improved and developed.
Check for updates and other information at
htt!$%%www.stan&in'waterstu&ios.co(
This document has been produced, compiled and rendered to PDF format using the wonderful
)!en)ffice Writer software.
For more information about )!en)ffice go to htt!$%%www.o!enoffice.or'
pril !"#"
ReaRea&$ %&P&% books and training manuals printed and spiral bound are now available from
http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
*! an& Runnin'$ A REAPER *ser Gui&e
The essential and definitive guide to recording, editing and mi/ing with %&P&%. 0ow fully updated for version
+.". )ncludes sample pro1ect files and step by step e/amples to help you learn how to use the many features of
%&P&%
)ncludes special sections on key %&P&% features such as routing and audio channel splitting, as well as
numerous e/amples of how to use and apply many of the supplied F2 plug3ins.
45p and %unning is not only a comprehensive guide to using %&P&%, it6s also full of an ama7ing amount of
information on audio recording and engineering. ) simply cannot recommend it enough84 3 +ustin Fran,el
9C:C;:< )nc and %&P&% Developer=.
Rea-ix$ .rea,in' the .arriers with REAPER
This book does much more than 1ust teaching you how to use basic tools 9such as volume, panning, &>, gates,
compressors, delay, reverb etc.= to get an :; mi/. )t also guides you thru the relationships ? some simple, some
comple/ ? that e/ist between the dimensions of sound and the dimensions of space. )t gives you the confidence
to use this knowledge to transform your :; mi/es into great mi/es.
lthough not light on theory, it has a definite practical emphasis, with links to archives containing some -" or so
pro1ect files, with step by step e/amples. These help you put your knowledge into practice.
4@ow8 <o much good stuff 3 from mindbending advanced techniAues to solid sensible advice, this guide should
have a positive effect on 1ust about anybody interested in mi/ing 9and especially those using %&P&%=84 3 +ustin
Fran,el, Cockos )nc, developer of %&P&%.
An& fro( A(a/on.co( 0
http$''www.ama7on.com'%&P&%3Power3Comprehensive3Beoffrey3
Francis'dp'#CD.E+.,D+'ref*srF#F##(ie*5TF.Gs*booksGAid*#!-."+DDD#Gsr*#3##
REAPER Power
Takes you beyond the 5ser Buide 9which focuses mostly on how to do things= and places more of an emphasis
on the when and the why. )t6s also designed to help you understand how %&P&%6s various components, tools,
bits and pieces work together. The book is comprehensive and includes a CD with more than #"" pro1ect files
which demonstrate the various features of %&P&% in action. )t also contains sample custom actions, F2 chains,
track templates, and much more.
)f you6re an e/perienced user of another product 9perhaps Cubase, <onar or Pro Tools= and are making the 1ump
to %&P&% then this book should give help fast3tracking you into %&P&%6s design philosophy and ways of
working, which often are significantly different from what you6re used to.
Forewor&1 Ac,nowle&'e(ents an& Prea(ble
)f you6re reading this it should be safe to assume that you6re already familiar with %&P&%, and that you6ve had
some e/perience of using that program for recording, editing and mi/ing music.
:ne of the great things about %&P&% is the way it lets you customi7e the program to suit your own
reAuirements. )t does this with its skinable B5), its custom actions, keyboard shortcuts, macros and scripting
support, its menus and its toolbars, and much more. nd on top of all this we have the <@< and 2enakios
e/tensions.
These bring to %&P&% whole new layers and levels of which ) suspect the average user may be largely
unaware. 5p until now these have been largely undocumented. This guide is intended as far as possible to fill
that gap.
) say Has far as possibleI because there are literally hundreds and hundreds of these e/tensions. They range
from being almost substantial applications in their own right to being minor little features, and everything in
between. To document every one in detail would take much, much longer than the amount of time this author
has available.
@hat ) have aimed to do here is to take you on a guided tour of this world of e/tensions and actions, showing
you do7ens and do7ens of e/amples of ways in which these e/tensions can be applied to enhance your %&P&%
e/perience. Jou should think of these as being your first steps into this world. Jou should also develop the
knowledge and confidence to go on from there to grow in knowledge and take whatever further steps will
benefit you the most.
Jou see, that6s the thing about customi7ation. Ky definition, it will be different for everyone. That6s mighty
powerful ? but with power comes responsibility. )n this case, each and every one of us has to take
responsibility for how we as individuals want %&P&% to work8
Thank you to nne Parsell and Lathew @oolley 9Tasmania6s very own Twice Kitten= for their permission to use
their song <tay @ith Le for the sample e/ercises and tutorials.
)6d like to acknowledge here of course the work of Mustin, Christophe, <chwa and all others who have helped
make %&P&% what it is. )6d also like to especially acknowledge the work of Tim Payne at <tanding @ater
<tudios and 2enakios for their incredible efforts in developing these e/tension sets. lso, a special mention for
Mean3FranNois KOdague from the %&P&% forum 9Meffos= for his work on the <@<'<L e/tensions and actions,
and to Pascal Kourdon 9Padre= for his contributions, including an PF: generator.
Past but definitely by no means least a huge thank you to <pike Lullings for the many painstaking hours he has
spent tracking down and correcting my numerous typos.
3 Beoffrey Francis, pril !"#"
SWS Web Resources
)n order to access the <@< &/tensions, you will need to visit the <tanding @ater <tudios web site, located at
http$''www.standingwaterstudios.com
Download details can be found in <ection #.!. There is 1ust one point ) would like to make here. These
e/tensions which are generously made freely available to you represent the product of literally hundreds and
hundreds of hours of work by the developers. They are made freely available but this does not mean they cost
nothing to produce. 0e/t to the download links you will see a 2onate button. )f you6re not sure how much to
give, try Q#". )t won6t hurt you, really8
3ontributions fro( 2e4elo!ers -ost Welco(e
Contributions to the <@< &/tension pack in the form of coded e/tensions by other developers are also strongly
encouraged and welcomed. )n many respects these are even more welcome than cash8 )f you think you might
be interested, please contact ti(5stan&in'waterstu&ios.co(
.u' Re!ortin' an& Feature Re6uests
)f you come across any suspected bugs in any of the e/tensions or wish to make a feature reAuest, please do
so on the official site, not on the %&P&% forum. This 5%P will take you to the corrects site$
http$''code.google.com'p'sws3e/tension'
This 5%P will take you to the <@< tracker$
http$''code.google.com'p'sws3e/tension'issues'list
Sa(!le Pro7ect Files
This 5ser Buide includes a number of e/amples and step by step tutorials designed to help you to understand
the various <@< e/tensions and to get the most from them. The sample files used in these tutorials can be
downloaded from$
http$''www.cockos.com'Rgla7folk'<tay@ithLe.7ip
)f typing this 5%P, note that it is case sensitive.
fter downloading the file, you should un7ip its contents 9using a program such as @inSip or PSip= and copy
its contents to suitable location on your hard disk.
About This Gui&e
This user guide is made freely available as a non3printable PDF download. That doesn6t mean that it hasn6t cost
anything to produce. Piterally hundreds of hours goes in to the production of a document such as this.
)f you find it useful and would like me to be able to continue to spend the time necessary to keep it up to date
and to e/pand its contents, please do the right thing and purchase either a printable PDF edition, or purchase a
spiral bound hard copy.
To purchase your authori7ed PDF or hard copy, follow this link$
http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
REAPER Plus! The Power of SWS Extensions 84 1..19
3ontents
1 Settin' *! an& Gettin' Starte&...........................................................................11
#.# )ntroducing the <@< &/tensions............................................................................................... ##
#.! Downloading the <@< &/tensions............................................................................................. #!
#.+ Downloading the <ample Pro1ect Files....................................................................................... #!
#.- )nstalling the <@< &/tensions.................................................................................................. #+
#.-.# )nstalling on a PC............................................................................................................. #+
#.-.! )nstalling on a Lac........................................................................................................... #+
#.C %&P&% ctions, ;eymaps and Custom Lenus.......................................................................... #-
#.E ssumed ;nowledge............................................................................................................... #-
" Si(!le SWS Actions$ :ittle Thin's That -ean a :ot...........................................1;
!.# Preferences and <ettings......................................................................................................... #C
!.! @hat re %&P&% and <@< ctions(........................................................................................ #C
!.+ Soom, Display and 0avigation ctions...................................................................................... #E
!.- Poop and Time <election ctions.............................................................................................. !"
!.C First Pook at 2enakios &/tensions.......................................................................................... !#
!.C.# &/tension Command Parameters........................................................................................ !!
!.C.! <how'Tide Floating )tem'Track )nformation........................................................................ !+
!.C.+ The Pro1ect Ledia Files @indow......................................................................................... !-
!.E <mart Larker ctions.............................................................................................................. !C
!., <ome Lore &/amples of <imple ctions.................................................................................... !D
!.,.# Track <lots....................................................................................................................... !D
!.,.! )tem <tates and )tem Preview............................................................................................ !D
!.,.+ ctions to ssist with %ecording......................................................................................... +"
!.,.- Takes Lanagement and Lanipulation................................................................................. +#
!.,.C Folder Lanagement.......................................................................................................... +!
!.,.E Track Lanagement........................................................................................................... ++
!.,., Lanaging <ends and %eceives........................................................................................... +-
!.,.. Laster Track ctions......................................................................................................... +-
!.,.D Creating a Cue Kus Track.................................................................................................. +C
!.,.#" Track and Pro1ect Templates............................................................................................ +E
!.,.## Time <election Cut'Copy'Paste ctions............................................................................. +E
!.. bout <@< &/tensions............................................................................................................. +,
!.D PD%&6s PF: Benerator........................................................................................................... +,
!.#" <o Lany ctions, <o Few ;eys .............................................................................................. +.
!.## ) @onder )f %&P&% Can U. (................................................................................................ +.
< .uil&in' Si(!le 3usto( Action -acros..............................................................<=
+.# Custom ctions for Track and Folder Lanagement..................................................................... +D
+.! <imple Ledia )tem &dit Lacros................................................................................................ -!
+.+ Track rchive Lacro................................................................................................................ --
> SWS Pro7ect -ana'e(ent...................................................................................>
-.# :rgani7ing Jour Pro1ects......................................................................................................... -,
-.! <@< Pro1ect Lanagement Commands....................................................................................... -.
-.+ Pro1ect Pist Lanagement......................................................................................................... C"
-.- The <@< Pro1ect Pist @indow.................................................................................................. C!
-.C %elated Pro1ect Lanagement................................................................................................... C+
REAPER Plus! The Power of SWS Extensions
-.E Track Lanagement with %elated Pro1ects.................................................................................. C-
; SWS -ar,er -ana'e(ent...................................................................................;;
C.# The <@< Larker Pist............................................................................................................... CC
C.! vailable Larker ctions.......................................................................................................... CE
C.+ <@< Larker Command <ummary............................................................................................. C,
C.- Creating and 5sing Larker <ets............................................................................................... C.
C.C Docking the <@< Larker Pist @indow....................................................................................... E"
C.E Copying Larkers Ketween Pro1ects........................................................................................... E#
C., &/porting Formatted Larker Pists............................................................................................. E!
C.. :ther <@< Larker Pist @indow Features.................................................................................. EC
C...# @indows <creen <et Compatibility...................................................................................... EC
C...! Customi7able Columns...................................................................................................... EC
C...+ <ort )tems by Columns...................................................................................................... EC
C...- ;eyboard <hortcuts........................................................................................................... EC
C.D Larker Lanagement Custom ctions and Lacros......................................................................EE
? SWS 3olor -ana'e(ent......................................................................................?
E.# The <@< Color Lanagement <ystem........................................................................................ E,
E.! <@< Color Lanagement Command <ummary............................................................................ E.
E.+ vailable Color Lanagement ctions......................................................................................... ED
E.- Color Bradients....................................................................................................................... ED
E.C <@< Color <ets....................................................................................................................... ,#
E.E <@< Color Commands............................................................................................................. ,!
E., %&P&%6s Color Tinting Preferences.......................................................................................... ,-
E.. <@< uto Color...................................................................................................................... ,E
E...# uto Color Filter Codes...................................................................................................... ,,
E...! %esolving Color Conflict..................................................................................................... ,,
E...+ uto Color Color Codes..................................................................................................... ,.
E...- <@< uto Color ctions..................................................................................................... ,.
E.D Color Lanagement Custom ctions........................................................................................... ,D
E.#" The &vilDragon Color Toolbar................................................................................................. ."
SWS Trac,list an& Trac, -ana'e(ent...............................................................@1
,.# <@< Tracklist Commands and :ptions...................................................................................... .!
,.! <@< Tracklist Column Lanagement.......................................................................................... .+
,.+ <@< Tracklist ctions.............................................................................................................. .+
,.- @orking @ith the <@< Tracklist @indow................................................................................... .-
,.C <@< Tracklist ;eyboard <hortcuts............................................................................................ .,
,.E Track Visibility <napshots......................................................................................................... .,
,., %&P&% Track View <creen <ets............................................................................................... .D
,.. Visibility <napshots and Pro1ect Changes................................................................................... D#
,.D Custom ctions and Lacros..................................................................................................... D#
@ SWS Sna!shots....................................................................................................=<
..# The <napshots Pist rea.......................................................................................................... D-
..! The :ptions Panel................................................................................................................... DE
..+ Lissing <napshot )tems........................................................................................................... D.
..- <ome Case <tudies and Tutorials.............................................................................................. DD
..-.# Tutorial #$ <napshot &ssentials.......................................................................................... DD
..-.! Tutorial !$ 5nderstanding <napshot Filters..........................................................................#"#
REAPER Plus! The Power of SWS Extensions 84 1..19
..-.+ Tutorial +$ The <elected Tracks :nly :ption.......................................................................#"-
..-.- Tutorial -$ <ends and <napshots........................................................................................ #"C
..-.C Tutorial C$ dding Tracks to <napshots............................................................................... #"E
..-.E Tutorial E$ Deleting Tracks from <napshots......................................................................... #".
..-., Tutorial ,$ F2 Chains and <napshots.................................................................................. #"D
..-.. Tutorial .$ Visibility <napshots and Pro1ect Changes............................................................##-
..-.D Tutorial D$ )mport'&/port, Copy'Paste <napshots 9Kasics=....................................................##C
..C The TCP Conte/t Lenu............................................................................................................ ##D
..C.# Tutorial #"$ Lore Copy'Paste <napshot Functions...............................................................#!"
..C.! The Paste <napshot H)ntelligenceI...................................................................................... #!#
..E &/porting and )mporting <napshots$ Case <tudy..................................................................... #!!
.., <@< <napshot Custom ctions................................................................................................. #!+
= SWS -e&ia Pool.................................................................................................1";
D.# <@< Ledia Pool :verview....................................................................................................... #!C
D.! 5sing the <@< Ledia Pool....................................................................................................... #!E
1# SWS Rea3onsole.............................................................................................1<1
#".# )ntroducing %eaConsole......................................................................................................... #+#
#".! %eaConsole Command <ummary............................................................................................ #+!
#".+ ;nown )ssues and Pimitations................................................................................................ #+E
#".- dvanced %eaConsole Features.............................................................................................. #+,
#".C <@< Console ctions............................................................................................................. #+.
11 -ore Exa(!les of 3usto( Actions..................................................................1<=
##.# F2 Lanagement Lacros......................................................................................................... #+D
##.#.# Copy )tem F2 to :ther )tems in Track.............................................................................. #+D
##.#.! Toggle F2 Kypass of <elected Folders plus Children...........................................................#+D
##.#.+ )ndividual F2 Kypass Toggle............................................................................................ #-"
##.! Track Free7e'5nfree7e Lacros............................................................................................... #-#
##.!.# Free7e Tracks in Folder................................................................................................... #-#
##.!.! 5nfree7e Tracks in Folder................................................................................................ #-!
1" Su((ary of SWS an& SWS%Aena,ios -o&ules an& Actions..........................1><
#!.# <@< utocolor and Coloring ctions....................................................................................... #-+
#!.! <@< %eaConsole ctions....................................................................................................... #--
#!.+ <@< Larker ctions.............................................................................................................. #-C
#!.- <@< Ledia Pool ctions......................................................................................................... #-C
#!.C <@< Conte/t <ensitive ctions............................................................................................... #-C
#!.E <@< Free7e'5nfree7e ctions................................................................................................. #-E
#!., <@< Folder Lanipulation ctions............................................................................................ #-E
#!.. <@< )tem ctions................................................................................................................. #-,
#!.D <@< )tem <election............................................................................................................... #-,
#!.#" <@<'PD%& &nvelope Processor and PF: Benerator..............................................................#-,
#!.## <@< Pro1ect Preferences ..................................................................................................... #-.
#!.#! <@< Track Parameter ctions............................................................................................... #-.
#!.#+ <@< ctions to <elect Tracks............................................................................................... #-D
#!.#- <@< Pro1ect Lanagement ................................................................................................... #C"
#!.#C <@< <napshots .................................................................................................................. #C"
#!.#E <@<'<GL F2Chain and Cue %outing..................................................................................... #C#
#!.#, <@< bout......................................................................................................................... #C+
REAPER Plus! The Power of SWS Extensions
#!.#. <@< Tracklist, Track Tide, Track <how.................................................................................#C+
#!.#D Fingers'<@< )tem %ate ctions............................................................................................ #C-
#!.!" 2enakios'<@< File Lanagement and Lanipulation.................................................................#C-
#!.!# 2enakios'<@< Template Lanagement.................................................................................. #C-
#!.!! 2enakios'<@< Track'Folder and Laster Track Lanagement....................................................#CC
#!.!+ 2enakios'<@< Ledia )tem Lanagement................................................................................ #CE
#!.!- 2enakios'<@< Takes Lanagement........................................................................................ #C.
#!.!C 2enakios'<@< 0avigation and Cursor Lovement....................................................................#CD
#!.!E 2enakios'<@< Tools and Liscellaneous................................................................................. #CD
REAPER Plus! The Power of SWS Extensions 84 1..19
REAPER Plus! The Power of SWS Extensions
1 B Settin' *! an& Gettin' Starte&
1 Settin' *! an& Gettin' Starte&
1.1 Cntro&ucin' the SWS Extensions
The <@< e/tensions are a collection of items that individually and together add ama7ingly to the functionality
and capabilities of %&P&%. They not only serve to improve your productivity and workflow, they also give you
features and capabilities that would otherwise not be available to you. <ome of these are small but nevertheless
useful items. :thers should be regarded as ma1or features in their own right.
<ome e/amples of the capabilities that the <@< e/tensions put at your disposal are$
The ability to Auickly create and recall multiple loops and time selections within a pro1ect file.
The ability to create and use different sets of markers for use with different tracks 9or groups of tracks=
within a pro1ect.
The ability to automate playback so that the cursor will automatically 1ump over those passages that at
any point in time you do not need to audition.
The ability to set up, use and maintain a color management system for use with your pro1ect files. 9<ee
below=
The ability to store and recall together several pro1ect files as a group.
The ability to create, use and recall mi/ing snapshots.
Lore power in the way you can manage views and windows.
This is 1ust a small selection of the topics that you will learn from working thru this 5ser Buide. &ven if you have
used some of the <@< e/tensions before, you will get the most out of this book if you work your way thru from
the beginning and omit nothing. Jou 1ust might get more than a few pleasant surprises along the way.
The name of 2enakios has already been mentioned in the acknowledgements, but his contribution to the
development of these snapshots has been so enormous that it is only fitting that he should get another mention
here. Lany of the fine e/tensions, actions and commands that are now included in the <@< e/tension set were
originally developed by 2enakios.
##
For an authorised printable PDF version of this guide or bound hard copy go to http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
REAPER Plus! The Power of SWS Extensions 84 1..19
1." 2ownloa&in' the SWS Extensions
The <@< e/tensions have been developed by Tim Payne of <tanding @ater <tudios. For more information about
Tim and <tanding @ater <tudios, visit http$''www.standingwaterstudios.com
Jou will need to go to that web site in order to download the latest copy of the <@< &/tension pack.
5se the links near the bottom right corner of the screen to obtain the correct version for your system ?
@indows +!, @indows E-, or :<2. Must like %&P&% itself, because these e/tensions have been efficiently
coded the file si7e has been kept to a minimum. For e/ample, for the +! bit @indows version this is no ore than
about -"" kb. The e/tensions are updated regularly and freAuently, so you should check for regular updates.
Thanks to Tim6s generosity, the <@< &/tensions are distributed free of charge. This does not mean, however,
that they are produced without cost. Please obser4e the D2onateE button in the lower ri'ht corner of
the screen an& be !re!are& to use it. 5nless you are genuinely unable to afford it, a suggested suitable
amount to donate would be at least Q#"."".
1.< 2ownloa&in' the Sa(!le Pro7ect Files
)n addition to the <@< &/tension Pack, you should also download the sample pro1ect files that are used in the
various e/amples used in this guide. Jou will need these if you are to be able to work thru the various step by
step tutorials that accompany each chapter.
Download information for these is included in the introductory section of this guide, 1ust before the Table of
Contents. fter downloading, you should un7ip and copy the files to your usual %&P&% pro1ects folder. Jou
should also keep a spare copy of these files in case the need should arise for you to recover them to their
original state.
#!
For an authorised printable PDF version of this guide or a bound hard copy go to http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
1 B Settin' *! an& Gettin' Starte&
1.> Cnstallin' the SWS Extensions
Kefore you can install the <@< &/tensions
on to your computer, you must first have
%&P&% v +.- or higher installed on your
computer. Towever, it is strongly
recommended that you should use the
most recent version of %&P&%that is
available. :therwise you might not be able
to complete some of the tutorials in this
user guide. Jou should also check the <@<
web site regularly for more information
and later releases.
1.>.1 Cnstallin' on a P3
)f you are using a PC with @indows, then
you can simply double click on the <@<
install file to begin the install process.
Jou will be presented with a license
agreement 9see right=. )f you are unwilling
to accept this agreement you will not be able to install the <@ < &/tensions. )f you do consent to this
agreement, follow the prompts to install the <@< &/tensions automatically into your W%&P&%WPlugins folder.
fter installation, you will have the file rea!erFsws.&ll in this directory. This will ensure that the e/tensions
will automatically be available to you ne/t time you start %&P&%. fter installation, you should find that your
%&P&% main menu will include an e/tra command ? Extensions. @e6ll get round to e/ploring this shortly.
1.>." Cnstallin' on a -ac
)f you are using a Lac 9:<2= then your installation package will consist of two files ? license.txt and
rea!erFsws.&ylib. )f you accept the terms and conditions e/plained in the license te/t file, then to install the
<@< e/tensions you should copy or drag and drop the rea!erFsws.&ylib file into the folder
G%:ibrary%A!!lication Su!!ort%REAPER%*serPlu'ins%.
#+
For an authorised printable PDF version of this guide or bound hard copy go to http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
REAPER Plus! The Power of SWS Extensions 84 1..19
1.; REAPER Actions1 Hey(a!s an& 3usto( -enus
)n the course of working thru the many tutorials that are included with this 5ser Buide, you will probably wish
to e/periment with setting up various keyboard shortcuts and changes to your toolbars and menus to
accommodate many of the <@< commands and actions.
)f you wish to do this on an e/perimental basis and without compromising your e/isting settings in these areas,
then before you begin work on these e/ercises you first should backup and save all your e/isting menus,
toolbars and shortcuts. Jou can later recall them if you wish. To do this$
Choose from the main %&P&% menu )!tions1 3usto(i/e -enus%Toolbars. @hen the Customi7e
window is shown, click on Ex!ort then All (enus%toolbars to Rea!er-enuSet file. @hen
prompted, give the file a name and click on Sa4e. These settings can then be imported back into
%&P&% at any time. Close the Customi7e window when finished.
Choose from the main %&P&% menu Actions1 Action :ist. @hen the ctions window is opened, click
on C(!ort%Ex!ort, then choose Ex!ort All. <pecify a name for your ;eyLap file and click on Sa4e.
This file can be imported back into the ctions Pist at any time. Close the ctions window when
finished.
Then, as you work thru this 5ser Buide, you can at any time save the toolbars, menus and keymaps that you
have created during the tutorials and restore your earlier saved settings if you wish. <witching between the two
sets of menus, toolbars and keymaps is a lot Auicker and easier than you might think.
1.? Assu(e& Hnowle&'e
This 5ser Buide is not recommended for complete newcomers either to digital recording or to %&P&%. That
said, you don6t need to be a power user of %&P&% to benefit from its contents. Towever, the better your
knowledge and the greater your e/perience of working with %&P&%, the more you will get out of it. This 5ser
Buide assumes that you already have a reasonable working knowledge of %&P&% and that you are at ease
within the %&P&% environment. Jou should at the very least be familiar with basic tasks such as$
Creating, naming and saving pro1ect files.
Creating tracks and recording material.
<imple editing tasks, like deleting and copying media items.
<imple everyday tasks like starting and stopping playback.
0avigating thru a pro1ect file.
Creating and deleting markers and regions.
<electing and unselecting items.
dding basic effects 9such as %ea&> and %eaComp= to tracks.
To get the best out of this guide, you should also have at least a fundamental grasp of a number of less basic
tasks, including$
Creating and using folders.
Creating and using sends and receives between tracks.
Creating and using basic automation envelopes.
<imple grouping functions.
ssigning shortcut keys and creating custom actions.
Jou6ll find some help here with the less basic topics as and when they arise. Towever, to understand these
features more fully ? and to get the best out of the <@< &/tensions 3 you should consult the %&P&% 5ser
Buide and'or %&P&% Power8
#-
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" B Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
" Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
)n this chapter you will be introduced to some of the simplest of the <@< e/tension actions. )n doing this, the
ob1ectives are that$
Jou should come to appreciate that even the simplest of actions can be deceptively useful.
The real potential of <@< actions often becomes evident when you collect together a number of them
into a group.
)f you have not already done so, you will learn how to assign simple actions to %&P&%6s custom
toolbars and menus.
".1 Preferences an& Settin's
s you are no doubt aware, %&P&%6s e/act behavior will often be in part determined by your options and
preferences settings. To ensure that the e/amples that follow will work successfully, please ensure that the
following options are set as specified in the table below.
)!tion Re6uire& Settin'
)!tions menu$ :oo! !oints lin,e& to ti(e
selection
<et this option )ff 9unticked=.
)!tions1 Preferences1 E&itin' .eha4ior1
-ouse
<et Select both ti(e an& ite(s when usin' ri'ht clic,
(ar6uee to )n 9ticked=.
"." What Are REAPER an& SWS ActionsI
n action is basically a command that can be e/ecuted in %&P&%. @hether you are aware of it are not, you
use actions every time you use %&P&%. For e/ample, every time you press 3trlJS, or use the File1 Sa4e
command, or click on the Sa4e icon on the %&P&% toolbar you are e/ecuting an action. )n this case, the action
is that of saving your pro1ect file.
)f all %&P&% actions were as simple, well3known and freAuently used as this one, there would be no need for
this 5ser Buide. Towever, actions go a long way beyond e/ecuting simple menu tasks like saving and opening
files. )t is true that every one of the commands that you see on your %&P&% menus is an action. Towever,it6s
also true that there are literally hundreds of other actions that do not
appear on any menus but which can also be used to make your %&P&%
e/perience a faster, happier and more productive ones. These include
actions for navigating, editing, customi7ing the %&P&% environment, and
much, much more. These actions are initially accessed via the Actions1
Show Action :ist command on the %&P&% main menu 9see right=.
5sing the ction Pist &ditor, you can chain together whole seAuences of
these actions to create your own custom macros, so that a whole series of half a do7en actions or more can be
launched with a single keystroke or click of the mouse. That6s what you6re going to be doing as you progress
further into this guide.
@e6ll start, however, with some Auite simple e/amples, then build up to more comple/ and powerful custom
macros later. %ight now, what you need to be aware of is that there are si/ main ways an action can be
e/ecuted. Jou determine yourself which and how many of these are used for any particular action. ;eep in
mind that these are only e/amples, designed to help you understand how to use these e/tensions. )t6s then up
to you to determine for yourself which of the many available <@< e/tension actions will be most useful to you.
#C
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REAPER Plus! The Power of SWS Extensions 84 1..19
The si/ methods that you can use to e/ecute an action are as follows$
Directly from within the ctions list.
Ky displaying it in %&P&%6s ctions menu.
Ky assigning a shortcut key to the action.
Ky assigning it to an e/ternal control surface.
Ky adding the action to any of %&P&%6s menus.
Ky adding the action to one of %&P&%6s toolbars.
Kote$
To display 9and optionally print= a list of current keyboard shortcut assignments, choose the command Lel!1
LT-: :ists 8autoB'enerate&91 Heyboar& Shortcuts from the %&P&% menu.
To display 9and optionally print= a list of all
available actions, choose the command Lel!1
LT-: :ists 8autoB'enerate&91 Actions
from the %&P&% menu.
)n both cases, the information will be
displayed in TTLP format using your default
web browser.
".< Moo(1 2is!lay an& Ka4i'ation Actions
)n this section, you will be shown how <@< e/tension actions, integrated with %&P&%6s own native actions can
be used to give you more control ? and faster control ? over the navigation and playback of your pro1ect files.
The e/amples used in the tutorials are only that ? e/amples8 They have been selected to help you learn.
Keyond that, it6s then up to you to apply what you have learnt to suit your own specific priorities.
)n this section you will be introduced to some of the simpler <@< e/tensions. )n doing so, you will learn how to$
:pen and use the ctions Pist &ditor
ssign an action to a keyboard shortcut.
Display actions on the ctions menu.
ssign an action to a custom toolbar.
s an e/isting %&P&% user, you6re probably aware of a number of keyboard shortcuts that can assist you when
you are navigating and viewing your pro1ects. These include using the N key to toggle between normal track
view and minimi7ed track view and the G key to toggle between normal track view and ma/imi7ing the height
of the currently selected tracks. )n this tutorial you will discover and use some of the other options that are
provided by the <@< e/tensions.
Pre!aration
#. :pen the sample pro1ect file StayWith-e.
!. )mmediately save it as StayWith-e"<. This name will enable you to associate the file with this
section 9!.+= should you wish to e/amine it again at some future date.
Tutorial
#. Choose the Actions1 Show Actions :ist command from %&P&%6s main menu. This opens the ctions
&ditor window.
!. This list contains over #,""" items8 0otice that there is a Filter bo/ near the top of this window. @e
can use this to make it easier to e/plore the sub1ect area in which we are currently interested.
#E
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" B Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
+. Type /oo( in the filter bo/. )mmediately only those actions which include 7oom in their descriptions
are shown. Pet6s restrict the search further.
-. dd to the filter bo/ the letters sws so that it now displays 7oom sws. 0ow only the <@< 7oom actions
are shown.
C. <elect the action SWS$To''le /oo( to sel trac,8s9 J ti(e sel
E. )n %&P&%6s arrangement window, select, say, track C in the track control panel, then right click and
drag over that track6s media item from, say, about C" sec to about # min -C sec. @ith this item still
selected, and with the 7oom action still selected
in the action list, click on Run 9not %un'Close= in
the ctions editor. Jour view of the pro1ect will
now 7oom in to display 1ust the one section of
the selected media item.
,. Click on Run again. The previous view will be
restored. Pet6s now assign a keyboard shortcut.
Click on the A&& button then type % to assign
this key 9see right=. Click on )H.
.. Jou can now e/periment with selecting any
track, right clicking and dragging to select any
portion of that track, then using the % key to
7oom in and out.
D. For the purpose of this e/ercise, we can now unassign the % key so that it is no longer associated with
this action.
#". @ith the action still selected, click on the % displayed in the bo/ labelled Shortcuts For Selecte&
Action in the lower left corner of the ctions window, then click on 2elete.
##. 0ow click on 3lose to close the ctions window.
#,
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REAPER Plus! The Power of SWS Extensions 84 1..19
#!. 0ow select the Actions command
from %&P&%6s main menu, and
ensure that the item Show Recent
Actions is selected 9ticked=.
#+. Jou can now make any selection of
any portion of any media item 9or
any number of vertically ad1acent
media items= in your pro1ect arrangement then use the command SWS$ To''le Moo( to Sel
Trac,8s9 from the ctions menu to 7oom in and out of that selection.
#-. <hortly, we6ll look at how we can add this action to one of %&P&%6s toolbars. Take a break first.
Kote$
)f you wanted to assign this or any other action to a
button on an installed e/ternal control device 9such as
Kehringer KC%!""" or a Lackie LC5=, you could do so by
repeating step , above.
)nstead of pressing a key on the computer keyboard, you
should touch the control on the controlling device. This
causes a message to be displayed similar 9but almost
certainly not identical= to that shown on the right.
Click )H to confirm your intentions and you can then use
the control device to e/ecute this action.
Tutorial
To complete this e/ercise, we are going to add an icon to one of the toolbars for e/ecuting this action. Full
instructions for how to edit the floating toolbar are included in the %&P&% 5ser Buide.
#. )f the floating toolbar is not visible, use the View1 Floatin' Toolbar command to display it.
!. Click on any empty tab on this toolbar, then right click over any blank part of this toolbar to open the
Customi7e Lenus'Toolbars editing interface.
+. Click on Retitle 0 then type Moo(%E&it 9see below=. Click )H.
#.
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" B Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
-. To add an icon, click the A&&... button. This causes a list of ctions to be shown, very similar to the
ctions &ditor that you opened earlier.
C. )n the Filter bo/ type sws /oo( to limit the list of
actions shown. )n the actions list, click on
SWS$To''le Moo( to Sel Trac,8s9 J Ti(e Sel1
-ini(i/e )thers. This is slightly different from the
action we chose earlier.
E. Click on the Select%3lose button. This action is added
to the left pane of the Customi7e Lenus'Toolbars
@indow.
,. )f you wish, you can right click over this te/t and
choose either 3han'e Ccon 0 to select a graphic icon
for this item, or Text Ccon 0 to enter a te/t
description 9see right=. )f you choose to enter a te/t
description it will be used as a tooltip for this item.
.. Click on Sa4e then 3lose to close the menu'toolbar
editor. Jour floating toolbar should now be similar to
that shown below. :f course, your other three tabs will probably have different names from those
shown here.
D. 0ow select any track in the Track Control Panel 9TCP=, right click and drag over any part of that track6s
media then click on the To''le Moo( button. That portion of the media item will be ma/imi7ed while
other tracks are minimi7ed.
#". Click on the button again to restore all tracks to normal view.
Tere is a summary of the main <@< Soom ctions.
Actions 3o((ents
Lori/ontal /oo( to selecte& ite(8s9 Sooms hori7ontally to display the entire length of item9s=
selected without changing track height.
To''le /oo( to selecte& ite(s Toggles 7oom according to the selected media. Variations
include the options to hide or minimi7e all other tracks.
To''le /oo( to selecte& trac,s J ti(e
selection
Toggles 7oom according to the selected track and time
selection. Variations include the options to hide or minimi7e
all other tracks.
Vertical /oo( to selecte& ite(s or trac,s Soom vertically to the selected item9s= or track9s= without
changing hori7ontal display. variation is to minimi7e others.
0otice that these actions do not toggle.
Moo( to selecte& ite(s Sooms hori7ontally and vertically to the selected item9s=.
:ptional variation is to also minimi7e all other. These
commands are not toggles.
#D
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REAPER Plus! The Power of SWS Extensions 84 1..19
Don6t make the mistake of thinking of the <@< e/tensions as being a separate self3contained module within
%&P&%. :n the contrary, they are most useful when they are integrated with %&P&%6s native actions. )n the
e/ample below, two more actions have been added to our Soom'&dit toolbar$ these are %&P&%6s native actions
View$ To''le Trac, View to -ini(u( Lei'ht and View$ To''le Trac, to -axi(u( Lei'ht 9see
below=.
".> :oo! an& Ti(e Selection Actions
The <@< &/tensions include a number of handy actions for saving and recalling different loop and time
selections. )n this ne/t section you6ll see some e/amples of how useful these can be. )f you filter your ctions
list using the words H<@< PoopI you will see upwards of about #! or #C actions, including several 2enakios'<@<
actions. Filtering with the words H<@< Time <elI will yield a similar result. The table below summarises the main
actions.
Actions 3o((ents
Sa4e loo! selection ? slot # thru slot C <aves up to five different loop selections for the pro1ect,so
that any of these can be recalled at will.
Restore loo! selection ? slot # thru slot C
and ne/t slot
%estores any one of five previously saved loop selections.
Ku&'e section loo! len'th <eries of si/ different actions for making the currently
selected loop longer or shorter, or moving it to be earlier or
later.
Re(o4e ti(e selection 8lea4e loo!
selection9
5nlike the Esc key9which removes both time selection and
loop selection= this removes the time selection only.
Moo( to selecte& ite(s Sooms hori7ontally and vertically to the selected item9s=.
:ptional variation is to also minimi7e all other. These
commands are not toggles.
Sa4e ti(e selection ? slot # thru slot C <aves up to five different time selections for the pro1ect,so
that any of these can be recalled at will.
Restore ti(e selection ? slot # thru slot C
and ne/t slot
%estores any one of five previously saved time selections.
-o4e cursor 0 creatin' ti(e selection series of actions to create a time selection starting at the
current edit cursor position by e/tending a specified number
of pi/els either left or right.
0otice that some of the 2enakios'<@< Love Cursor actions use the phrase Hconfigured pi/elsI. @e6ll see what
this means shortly. Leanwhile, let6s now look at some e/amples of how these actions can be used. @e will be
working with the option :oo! Points :in,e& to Ti(e Selection turned )ff.
!"
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" B Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
Tutorial
#. :pen the file StayWith-e"< 9if it isn6t still open from the previous tutorial=.
!. dd icons 9suitably labelled= to your Soom'&dit toolbar for each of the following actions$
SWS$ Sa4e ti(e selection1 slot 1
SWS$ Sa4e ti(e selection1 slot "
SWS$ Sa4e ti(e selection1 slot <
SWS$ Restore ti(e selection1 slot 1
SWS$ Restore ti(e selection1 slot "
SWS$ Restore ti(e selection1 slot <
View$ Moo( ti(e selection
View$ Moo( out !ro7ect
+. <ave the toolbar changes and close the Customi7e Lenus'Toolbars @indow. Jou can now 1ump Auickly
and easily between different parts of your song to audition them. n e/ample follows.
-. Create a time selection from about !. sec to about C+ sec. Click the necessary icon to save this time
selection to slot #.
C. Create a time selection from about # min ". sec to about # min -+ sec. Click the necessary icon to save
this time selection to slot !.
E. Create a time selection from about ! min ". sec to about ! min C, sec. Click the necessary icon to save
this time selection to slot +.
,. Jou can now e/periment with switching from one time selection to another, 7ooming in and out 9for
any possible editing=. 0ote that you can at any time Auite easily redefine any of your time selections.
.. <ave the file.
Kote$
)t6s time for a reminder that as interesting as this tutorial is, your focus should not be so much on how you can
use <@< actions to set up and use multiple loops as on how you can select and e/ecute those actions which
you find most useful8
".; A First :oo, at Aena,ios Extensions
Ky now you should have noticed the Extensions command that has been added
to your main %&P&% menu, 1ust before the Lel! command. Jou might be
wondering why some e/tensions appear on this menu while many others do not.
The answer is Auite simple. The commands on this menu were originally
developed by 2enakios independently of the <@< e/tensions. @hen these were
later incorporated into the <@< e/tension set, the decision was taken leave the
original menu displayed. )f you browse this menu and its various submenus you
could easily become overwhelmed at the number of items that are displayed. @e
won6t be e/ploring all of these in this guide, but we will show you enough to do
much more than 1ust get started.
2enakios e/tensions should now be more correctly referred to as <@<'2enakios
e/tensions.
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REAPER Plus! The Power of SWS Extensions 84 1..19
".;.1 Extension 3o((an& Para(eters
)n this section, you are going to be introduced to one very important aspect of the 2enakios e/tensions ? using
command parameters.
)f you browse the &/tensions menu and sub3menus you will find many commands which include phrases like
Hconfigured pi/elsI, Hconfigured secondsI, Htrack height I and Htrack height K.I. Ky themselves, these
e/pressions make little sense. Towever, if you look in the window shown below, you will see references, for
e/ample, to pi/els, seconds, track height , track height K, and much more besides. )t6s time to take a look at
this Extension 3o((an& Para(eters Win&ow.
This window is used to store parameters which can then be passed to various commands. <ome e/amples of
how these parameters work are summari7ed below. tutorial follows shortly.
Para(eter Grou! 3o((ents
Fa&es$ 3onfi'urations A an& . Jou can define two separate sets 9 and K= of fades, each
with their own fade in and fade out time and shape. The
shapes 9numbered " to C= follow the si/ shapes shown in the
:ptions, Preferences, Pro1ect, Defaults window.
The ction Pist includes actions which allow you to apply
either of these defined fades to any item or selection of
items.
!!
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" B Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
Para(eter Grou! 3o((ents
Ku&'es Various parameters can be entered which allow you to define
the length of nudges in seconds or beats 9item position=,
semitones 9pitch=, decibels 9volume= or pi/els or seconds
9edit cursor position=.
The ction Pist includes a series of actions which lets you
apply these nudges as reAuired.
Trac,s Two different track height parameters 9 and K= can be
defined, as can a default label and a label suffi/ and prefi/.
ctions are included which can be used to change the height
and'or label of any track or tracks using these parameters.
Tutorial
#. Lake sure that you have the file StayWith-e"< open.
!. Choose the Extensions1 3o((an& Para(eters command. The Command Parameters @indow will
be displayed.
+. <et the value of Trac, Lei'ht A to ." and Trac, Lei'ht . to #!". Close the Command Parameters
@indow.
-. %ight click over an empty area of the Soom'&dit page of the floating toolbar to open the Customi7e
Lenus'Toolbars window.
C. dd two new te/t icons to this toolbar ? one for each of the two commands Aena,ios%SWS$ Set
Selecte& Trac,s Lei'ht to A and Aena,ios%SWS$ Set Selecte& Trac,s Lei'ht to .. Bive each
of these items suitable te/t labels.
E. <ave and close the Customi7e Lenus'Toolbars window.
,. <elect, say, tracks ! and C in the Track Control Panel. &/periment with clicking the various icons 9Track
height , track height K, toggle minimi7e= with various combinations of tracks selected to see how
fle/ibly this lets you manage your track display.
.. &dit the floating toolbar again to add two more <@< actions to the 0avigate'&dit bar. These are SWS$
Sa4e 3urrent Arran'e View and SWS$ Restore Arran'e View. This enables you at any time to
save an arrangement view layout e/actly as it is shown on your screen, then at any time later recall
that same layout.
".;." Show%Li&e Floatin' Cte(%Trac, Cnfor(ation
This one is definitely worth a mention. The 2enakios'<@< action Show%hi&e floatin' ite(%trac, info can
be used to toggle on and off display of a floating toolbar 9see above= which displays information about the
currently selected media item. :ne advantage of showing this toolbar is that it enables you to use the
information display area at the bottom of the Track Control Panel to display some other information, such as
CP5'%L usage and how long it has been since you last saved.
Kote$ )f you have completed the tutorials contained in this chapter then you will have made yourself Auite a
handy navigation toolbar. <ee if you can improve it. Pook thru the other actions used for navigation, 7ooming,
and so on, to see if you can find any that you could usefully add to your toolbar. ;eep in mind though that you
do not need to add actions to a toolbar. nother way 9as you have already seen= is to assign them to shortcut
keys. Jet another, as you will soon discover, is to add them to one or more of %&P&%6s menus.
!+
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".;.< The Pro7ect -e&ia Files Win&ow
The 2enakios e/tensions include a number of other windows which can be used to display information about
your pro1ects and to help you manage them.
n e/ample is the Pro7ect -e&ia Files window. This can be found on the main Extensions menu 9under
-isc%Ex!eri(ental= as well as in the ctions list. )t can be used with any pro1ect that has its own pro1ect
folder.
The left hand pane of this window lists all files used by the current pro1ect$ the right hand pane lists all files in
the pro1ect folder, together with an indication of whether or not each file is used in the current pro1ect.
:ptions and features include$
Cte( Ex!lanation
Li&e file !aths <implifies the display by showing the file names only, without
the full path.
Fin& (issin' files <earches your hard drive9s= for any media files missing from
this pro1ect.
3o!y nonB!ro7ect fol&er (e&ia to !ro7ect
fol&er
@here a search for missing files is successful, you will be
presented with the option of having these copied into the
pro1ect folder for this pro1ect.
Show only unuse& files &nabling this option causes only those files in the current
pro1ect folder but which are not used by that pro1ect to be
listed in the right hand pane.
2elete selecte& files Causes any files that you select from the right hand pane to
be deleted from your hard disk.
Sen& selecte& to Recycle .in Causes any files that you select from the right hand pane to
be sent to your recycle bin.
!-
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" B Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
".? S(art -ar,er Actions
Pater in this guide we6ll be looking at the <@< Larker Pist Lanager. Leanwhile, in this section you will be
introduced to one very handy <@< marker management feature ? the ability to create smart markers that can
themselves be made to e/ecute other commands and actions.
n e/ample of this might be when you are auditioning a song. Perhaps there are two or three passages on
which you wish to focus, comparing the mi/ at these different places. This might be, for e/ample, to help you
introduce subtle variations in the way a repeated chorus is mi/ed in two or three different places. The use of
smart markers 9or action markers= can help you to do this.
Kefore attempting an e/ample you need to understand one more thing about the <@< and native %&P&%
actions. &ach one can be identified by its own reference number 9or command )D=. This is important, because
you will need to use these numbers if you are to be able to use smart markers. )f you open the actions list and
scroll across to display the third column you will see these command )Ds listed. <hown below are the command
)Ds for the various Bo To Larker X actions.
0otice that this list includes a number of <@< actions, which each have both a numeric Command )D and a
te/t Custom )D. Ke careful if calling any of these actions in your <mart Larkers. The Command )Ds are not
permanent, and are always sub1ect to possible change in a later release. For this reason you should use only
the Custom )D labels when calling <@< ctions in <mart Larkers.
)n this ne/t e/ample you will learn how to$
Turn an ordinary marker into a smart marker by attaching an action to it.
dd <@< actions to %&P&%6s menus.
Lore information about customi7ing %&P&% menus is contained in the %&P&% 5ser Buide. Leanwhile, the
e/ample that follows will show you how to use smart markers to automatically 1ump from marker to marker
when a song is being auditioned. :f course, so long as you have identified the command )Ds or custom )Ds,
you can attach any action you wish to a smart marker.
Pre!aration
:pen the file StayWith-e"< and immediately save it as StayWith-e"?. Jou can now work thru the
following tutorial without making any changes to StayWith-e"<.
!C
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REAPER Plus! The Power of SWS Extensions 84 1..19
Tutorial
#. Position the cursor at about # min "E sec and press 3trlJ1 to create a marker numbered #.
!. Position the cursor at about # min -- sec and press 3trlJ" to create a marker numbered !
+. Position the cursor at about ! min !# sec and press 3trlJ< to create a marker numbered +.
-. Position the cursor at about ! min C. sec and press
3trlJ> to create a marker numbered -.
C. Double3click on the numbered flag for marker !. This
lets you edit the properties for this marker.
E. )n the Ka(e bo/ type !>#1?< 9see right= then press
Enter. The ! )ndicated that this will be an action
marker. >#1?< represents the action Go to -ar,er
<.
,. Double3click on the numbered flag for marker -. )n the
Ka(e bo/ type !>#1?1 9the command )D for Bo to
Larker #= and press Enter.
.. Press 1 to move the play cursor to marker #. Press S!ace to commence playback. Play will
continuously roll from marker # to marker !, then marker # to marker ! until you stop playback.
D. 0ow we are going to customi7e the ruler6s conte/t menu to enable us to turn smart 9action= markers on
and off.
#". From the main %&P&% menu, choose the )!tions. 3usto(i/e -enus%Toolbars command. This
opens the 3usto(i/e -enus%Toolbars window.
##. From the drop down list 9top left= choose Ruler%arran'e context 9as shown below=.
#!. Click on the te/t Cnsert -ar,er 0. @e are going to add a submenu at this point.
!E
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" B Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
#+. Click on the A&&... button, then select Sub(enu.
#-. @hen prompted, type S(art (ar,ers and press
Enter. Jour display should now be similar to that
shown on the right.
#C. Click on the OP immediately below the te/t S(art
(ar,ers.
#E. Click on A&& then select Action. The ctions list
will be displayed.
#,. Find the action SWS$ 2isable (ar,er actions,
click on it and click Select.
#.. Find the action SWS$ Enable (ar,er actions,
click on it and click Select%3lose.
#D. Jour display should now be similar to that shown on
the right.
!". Click on the Sa4e button to save your changes,
then on 3lose to close this window.
!#. 0ow as you play back your song, you can right click
anywhere on the ruler and use the conte/t menu to
turn smart markers on and off 9see below=. @hen
they are disabled, the pro1ect will play as normal, not 1umping from marker to marker. <ave the file.
!!. dd volume envelopes for both the female vocal and male vocal tracks 9tracks ! and C=. d1ust these
envelopes so that between markers + and - the female vocal is a little louder and the male vocal a little
Auieter.
!+. <ave the file again8
)f you want a marker to run more than one action, simply separate each command )D with a space. Jou should
not repeat the ! For e/ample, to cause the play cursor to go, say, marker # then stop playback, you would label
the marker !>#1?1 1#1?
Try this. dd two markers to this file, one about +" sec from the end, the other 1ust before the end. Lake the
second of these a smart marker that will move the play cursor back to the previous marker and toggle F2
bypass on the master track. Jou6ll need to search the actions list to find the correct command )Ds. <ave the file.
Kotes$
ctions can be added to %&P&%6s main toolbar, its floating toolbar, and most of its more commonly used
menus 9including the L)D) toolbars menus=. The drop down list in the top left corner of the of the Customi7e
Lenus'Toolbars shows those menus and toolbars that can be customi7ed. Lore detailed information about your
various options when customi7ing menus and toolbars can be found in the %&P&% 5ser Buide.
Ti!$ Jou can if you wish use te/t with your smart markers to include a descriptive comment. For e/ample, you
could use ! Go Pre4 -ar,er >#1"
!,
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REAPER Plus! The Power of SWS Extensions 84 1..19
The table below contains some more e/amples of possible simple applications for smart markers, including the
answer to the last e/ample on the previous page. These e/amples by no means e/haust the possibilities.
%ather, they are supplied in order to encourage and help you to think of more ways that you can benefit from
using this feature.
3o((an& C2s Actions Ex!lanation an& 3o((ents
!>#1" 1? -ar,ers$ Go to !re4ious (ar,er%
!ro7ect start
Trac,$ To''le FA by!ass for (aster
trac,.
Loves play cursor to previous marker
9without stopping playback=.
Toggles on and off the F2 bypass for the
master track.
This allows any part of the song to be
auditioned with the master track F2
alternately on and off.
!>#1" -ar,ers$ Go to !re4ious (ar,er%
!ro7ect start
Trac,$ To''le Solo for selecte&
trac,8s9.
Loves play cursor to previous marker
9without stopping playback=.
Toggles on and off solo status for currently
selected track9s=
llows you to audition a portion of the song,
allowing you at any time to make any
selection of tracks in the TCP$ their solo
status will be toggled each time the play
cursor returns to the start of the selection.
Jou can change the track selection as often
as you wish.
!>#1" >#<>#
>#"@ @
-ar,ers$ Go to !re4ious (ar,er%
!ro7ect start
Trac,$ *nsolo all trac,s
Trac,$ Solo selecte& trac,8s9
Trac,$ To''le FA by!ass for selecte&
trac,s
<ee illustration below. Loves play cursor to
previous marker 9without stopping playback=.
5nsolos any previously soloed tracks and
solos currently selected tracks instead.
%epeats playback of that portion of the song
between the two markers with F2 alternately
on and off for the currently selected and
soloed tracks.
Jou can change the track selection as often
as you wish.
Kote$ <mart Larkers can also be enabled and disabled using the toggle command Enable SWS -ar,er
Actions from %&P&%6s main )!tions menu.
!.
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" B Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
". So(e -ore Exa(!les of Si(!le Actions
<ections !.- and !.C included summary tables of some of the groups of simple <@< actions that can be used
within %&P&%, either by assigning them to shortcut keys, toolbar icons, or custom menus. There are, of
course, many more. )t would be tedious in the e/treme for this guide to attempt to work thru countless
repetitive and similar e/ercises showing how these can be assigned. The final chapter of this user guide
contains summary lists 9in various categories= of <@< and 2enakios actions. )f you browse this list even at this
early stage you should be able to gather idea of how you might be able to use some of these. s you progress
thru this guide, your understanding of how more and more of these can be used will increase.
Leanwhile, the information in the summary tables below at least help to start to get you thinking. The tables
are of course far from #""Y comprehensive nor, with so many available actions, could they be. They show only
a tiny handful of the many actions available, and are there to help you get started. Keyond these, you must
e/pect also to have to do some research for yourself if you are to derive the ma/imum benefit. Tow you use
this information 9or, indeed, whether you use it= is then up to you.
"..1 Trac, Slots
&very track now has access to up to five memory slots for storing 9often comple/= item selections. These are
saved with the pro1ect file.
n e/ample of how you might wish to use this is if you have a selection of, say, a half do7en items 9out of
perhaps !"= on a track that you wish to edit in some way 9perhaps to ad1ust their volume or pitch=. <ave the
selection into a memory slot. Lake your edits. Then if, say, a week later you want to make further edits to that
same selection, simply recall that memory slot. Jou don6t even need to remember e/actly which items were
included in the selection ? the process will automatically recall the correct selection.
Actions 3o((ents
Sa4e selecte& trac,8s9 selecte& ite(8s9?
slot # thru slot C
<aves up to five different sets of item selections on a per
track basis, so that any of these can be recalled at will.
Restore selecte& trac,8s9 selecte& ite(8s9
? slot # thru slot C
%estores any one of five previously saved item selections on
a per track basis.
".." Cte( States an& Cte( Pre4iew
These actions can be useful if you are e/perimenting with making changes to an item6s various attributes and
want to be able to recover a saved state without having to undo any other unrelated actions that have taken
place since the state was saved. Currently the item state actions work only with an item6s mute status, volume
9including item volume handle=, free item positioning status and si7e, color and fades.
Actions 3o((ents
Sa4e%Restore selecte& trac,8s9 ite(sQ
states
<aves or restores item states for all items in the selected
track9s=
Sa4e%Restore selecte& trac,8s9 selecte&
ite(sQ states
<aves or restores item states for only those items currently
selected in the selected track9s=.
Select ite(8s9 with sa4e& states on
selecte& trac,s
<elects all items on selected tracks whose item states have
previously been saved.
Pre4iew selecte& (e&ia ite( and
Pre4iew selecte& (e&ia ite( 8to''le9
Play selecte& ite(8s9 once
These actions can be used to play back and listen to the
currently selected media item. 5seful when you are
e/perimenting with changes to an item6s properties or F2.
!D
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REAPER Plus! The Power of SWS Extensions 84 1..19
"..< Actions to Assist with Recor&in'
)t6s easy to forget that %&P&%6s ction Pist comes with a separate section available to be used when you are
recording. This means that you can assign keyboard shortcuts so that they automatically take on a different
function when you are in recording mode.
bove are shown some of the <@< actions that you might find useful when you are recording. 0ote that the
keyboard shortcuts shown as assigned in the illustration are not default assignments. The following e/planatory
notes might also prove helpful$
Actions 3o((ents
To''le Ruler re& while recor&in' This is one of my favorites8 @hile you are recording the
%&P&% ruler is displayed as bright red. )t reverts to its
normal color when stop recording.
Trans!ort recor&%sto! Deceptively simple$ it means that the same key can be used
to start and stop recording 9rather than having to use
3trlJR and Sto!.
)f using this action, assign it the same keystroke in both the
-ain and -ain 8alt recor&in'9 sections.
Set selecte& trac,8s9 recor& ar(e&
Set selecte& trac,8s9 recor& unar(e&
These two commands are especially useful if you need to
arm'unarm tracks on the fly when you are recording.
<imply select the track9s= in the TCP before you begin
recording. Jou are then only ever a single keystroke away
from toggling the record status on and off for these tracks.
)f you intend to use these options, you should probably
disable the option under your recording preferences to
Pre4ent recor&in' fro( startin' when no trac,s
ar(e&.
+"
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" B Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
"..> Ta,es -ana'e(ent an& -ani!ulation
The 2enakios'<@< Ta,e -ixer 9right= is a handy little tool
especially designed to help you when you are working with a
track with multiple takes with the option to Play ll Takes
enabled. :pening this mi/er will automatically enable this
option.
)ts interface and controls are straightforward. )t includes pan
and volume faders for each take 9in the e/ample shown
there are three takes= as well as 9on the left= an overall
fader for the track.
)f you work a lot with multiple takes and the option Play ll
Takes enabled then you should consider adding this tool to
the Ledia )tem conte/t menu 9see below=.
Tutorial
#. :pen the file StayWith-e"? and save it as StayWith-e"<. %emove any markers and envelopes
that are in this pro1ect from a previous tutorial.
!. <elect the male vocal track and solo it. %ight click over the media item for this track and use the Takes
conte/t menu twice to make two duplicates of this take.
+. Display the )tem Properties for Take #. <elect the Play ll Takes option and lower the pitch by a
semitone 93#."""""=.
-. Display the )tem Properties for Take +. <elect the Play ll Takes
option and raise the pitch by a semitone 9#."""""
C. <ave the file.
E. Display the Take Li/er. Play the song. Pan Take # towards the left
and Take + towards the right. d1ust the volume on the three takes
so that the main vocal is prominent with the pitch shifted takes sitting
well behind them. 0otice how the waveform peaks are redrawn 9see
right=.
,. 5nsolo the track. d1ust the level of the overall takes mi/ so that the male vocal mi/es well with the
rest of the song.
.. <ave the file.
+#
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REAPER Plus! The Power of SWS Extensions 84 1..19
)n addition to the Take Li/er, a number of potentially handy actions that you may wish to consider using
include the following. They are all available from the media item right3click conte/t menu. %emember that you
can assign keyboard shortcuts for any that you find especially useful.
Actions 3o((ents
Ku&'e acti4e ta,e 4olu(e u!%&own d1usts volume of current active take.
Pan ta,es of ite(s sy((etrically utomatically pans takes to create a symmetrical pattern. For
e/ample, for an item with three takes these will be panned
#""Y left, dead center, and #""Y right respectively.
Store%recall currently selecte& ta,es 5se this when a track with multiple takes has been sliced so
that you can select the best take for each item. Jou can save
a selection of takes, then e/periment with making changes.
t any time you can now recall your saved take selection.
Rena(e ta,es Auick and easy way of renaming a take without having to
open and navigate the )tem Properties window.
Select first ta,e in selecte& ite(s <uppose that you have, say, three or four takes of perhaps ,
or . tracks recorded together. &specially wonderful when you
are recording multiple takes of drums8
This series of commands lets you switch Auickly and easily
between takes while ensuring that the same take is selected
for all tracks.
Select last ta,e in selecte& ite(s
Select ta,es of selecte& ite(s cyclically
"..; Fol&er -ana'e(ent
5sing folders in %&P&% can be a great aid to your mi/ing and pro1ect management. Towever, you might not
always find it convenient to be clicking on the track folder icons or dragging and dropping to nest child tracks
within a parent folder. @hat6s more, you might wish to create a folder when you are working in Li/er View.
number of actions are available which can help you with this. @e6ll have more to say about these in later
chapters, but for now it6s worth noting that a number of these actions can be Auite useful, even on their own.
The 2enakios actions all appear on the bottom of the TCP conte/t menu 9see ne/t page=. ny action can, of
course, also be added to your Li/er conte/t menu if you wish. These include$
Actions 3o((ents
SWS$ -a,e fol&er fro( selecte& trac,s or
Aena,ios%SWS$ Set selecte& trac,8s9 as
fol&er.
Jou can select any number of ad1acent tracks in the TCP or
Li/er and run either of these actions. The first track in the
selection will become the parent 9folder= track, the others will
be the child tracks. The last track in the selection will be the
last track in the folder.
SWS$ Set selecte& trac,8s9 to sa(e fol&er
as !re4ious trac,
This action is used to add one or two more tracks to a folder
immediately above it 9them=.
Aena,ios%SWS$ 2is(antle selecte& fol&er <elect any folder parent track and run this action to restore
the status of that track and all its child tracks to normal.
SWS$ Cn&ent selecte& trac,s8s9 Lakes the selected tracks child tracks with the track
immediately above the selection as the parent 9folder= track.
SWS$ )ut&ent selecte& trac,8s9 %emoves selected track9s= from a previously created folder.
+!
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" B Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
"..? Trac, -ana'e(ent
)nstalling the <@< e/tensions automatically causes the command Extensions$ Trac,%-ixer%En4elo!es to
be added to the track control panel conte/t menu. These commands are also available by choosing Extensions
from %&P&%6s main menu.
Lany of these only really make sense when they are incorporated with other commands into macros. For
e/ample, it is unlikely that you would normally want to go to this menu to .y!ass FA of selecte& trac,8s9
when you can do this by simply clicking the F2 bypass button of any track in a selection. @e6ll come to
e/amples of useful macros which include actions such as these later. Towever, there are some actions here that
you might well find useful in their own right. %emember that you can of course assign keyboard shortcuts for
these. They include$
Actions 3o((ents
Reset 4olu(e an& !an of selecte& trac,8s9 <ets volume to " dK and pan to center on selected tracks.
Set 4olu(e of selecte& trac,8s9 to #.# &. %eturns volume of selected track9s= to "." dK.
Pan selecte& trac,8s9 to center %estores selected tracks9s= to default pan position.
Store%Recall selecte& trac,8s9 hei'hts These actions together allow preferred heights to be stored
and recalled for any track9s=.
++
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REAPER Plus! The Power of SWS Extensions 84 1..19
".. -ana'in' Sen&s an& Recei4es
%&P&%6s %outing Latri/ is an effective and fle/ible environment for managing most of your routing needs, not
least when you are mi/ing. Jou can right click over any send or receive there to ad1ust its parameters 9such as
volume level, pan and send=, or over any track displayed in the header row 9top= or column 9left= to make
individual ad1ustments to any of its send or receive parameters.
Towever, %&P&% does natively lack easy options for some aspects of sends and receives management,
including a Auick and easy way of muting and unmuting all sends or receives from or to a particular track. This
can at times be useful when you are mi/ing. The following actions are available$
Actions 3o((ents
-ute all sen&s fro( selecte& trac,8s9 These two actions can be used to respectively mute or
unmute all sends from a single track or selection of tracks.
*n(ute all sen&s fro( selecte& trac,8s9
To''le (ute on recei4es for selecte&
trac,8s9
This single action toggles on and off the mute status of all
receives on a track or selection of tracks.
-ute all recei4es for selecte& trac,8s9 These two actions can be used to respectively mute or
unmute all receives for a single track or selection of tracks.
*n(ute all recei4es for selecte& trac,8s9
"..@ -aster Trac, Actions
Lore often than not, the master track will reAuire more repeated and careful attention than any of your other
tracks and folders. There are several <@< master track actions which can help you when you get to this stage.
gain, remember that any of these can be given keyboard shortcuts, and'or assigned to an appropriate %&P&%
toolbar or menu.
<earch the actions list using the phrase sws master for a complete listing. Tere is a summary of some which
you might find interesting.
Actions 3o((ents
Sa4e -aster FA enable& state )t is not unusual to need try out different strategies on the
master track 9for e/ample, to evaluate which of two
compressors you prefer=.
These two actions make it easy or you to switch between
alternate scenarios.
Restore -aster F enable& state
Set (aster trac, sen& R1 thru ;S (ute& @here your sound card has multiple pairs of outlets, this set
of commands can be used Auickly and easily to mute and
unmute various sends. This, for e/ample, helps you to
compare how your mi/ sounds thru different speakers, or
thru headphones.
Set (aster trac, sen& R1 thru ;S un(ute&
Set (aster 4olu(e to # &. This one 1ust might save your life8 The action provides you
with a safeguard against the conseAuence of accidentally
raising or lowering the volume of your master output.
+-
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" B Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
"..= 3reatin' a 3ue .us Trac,
cue track 9or cue bus= can be used as a Auick and easy method of creating a headphone mi/ that is different
from the mi/ sent to the master track. :f course, you could do this manually, but the task is made significantly
easier by a number of <@<'<L action commands. Credit here must go to Meffos from the %&P&% forum for his
input. To create a cue track using one of these actions is simple$
<elect the tracks that you want to send to the cue track.
%un one of the four cue bus track actions.
<elect the reAuired hardware output from the displayed routing window 9see below=.
Actions 3o((ents
3ue bus trac, fro( trac, selection
8!ro(!t9
Creates a cue track with receives from each track selected
and prompts you to enter a track name and send type.
# * Post Fader 9Post Pan=, ! * Pre Fader 9Post F2=,
+ * Pre F2
3ue bus trac, fro( trac, selection1 Post
Fa&er 8Post Pan9
Creates a cue track with Post Fader 9Post Pan= receives from
each track selected
3ue bus trac, fro( trac, selection Pre
Fa&er 8Post FA9
Creates a cue track with Pre Fader 9Post F2= receives from
each track selected
3ue bus trac, fro( trac, selection Pre FA Creates a cue track with Pre F2 receives from each track
selected
+C
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REAPER Plus! The Power of SWS Extensions 84 1..19
"..1# Trac, an& Pro7ect Te(!lates
Take a look at the screen shot above. This shows a number of actions which can be used for loading any of up
to ten different pro1ect templates and ten different track templates. The trick is to include your reAuired number
at the start of the template name ? "#, "!, "+ etc. This can be wonderful time saver when you are pro1ect
building. For e/ample, suppose you have created a drums folder complete with all its child tracks 9snare, kick,
toms, cymbals, etc.=, set up e/actly as you like them 9perhaps with panning, F2, routing to a reverb track, etc.
all in place, armed for recording, with inputs assigned, and so on=.
Jou can save that to a track template called, say #1 2ru(s and then assign a shortcut key to the action :oa&
trac, te(!late #1. Tey presto8 For future pro1ects,1ust press the shortcut key and your drum tracks are
automatically set up for you8
@hat6s more, you are not limited to 1ust #" of each. @henever %&P&% is launched, the <@< e/tensions
automatically searches its templates folder for additional templates, numbered up to DD. )f it finds any, these
are automatically added to the ctions list.
"..11 Ti(e Selection 3ut%3o!y%Paste Actions
Two more actions worth a special mention are these$
SWS$ 3o!y ite(s%trac,s%en4 obeyin' ti(e sel and
SWS$ 3ut ite(s%trac,s%en4 obeyin' ti(e sel
)f you assign these to 3trlJ3 and 3trlJA respectively, then these standard copy'cut shortcut keys can be used
to copy or cut only the time selection of currently selected items. )f no time selection is current, then the
shortcut keys will behave as normal.
:f course, if you prefer you can leave 3trlJ3 and 3trlJA at their default settings and assign different keys to
these two <@< actions.
+E
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" B Si(!le SWS Actions$ :ittle Thin's That -ean a :ot
".@ About SWS Extensions
n action that appears as the last item on the main
&/tensions menu, and which can also be found in
the ctions list is About SWS Extensions. )t
causes the dialog bo/ shown here to be displayed.
This is useful for a number of reasons, but in
particular$
Checking that you have the latest version
of the <@< &/tensions.
Pinking directly to the <@< web site for
downloads and other information.
)nformation about the <@< license, terms
and conditions and so on ...
".= PA2REQs :F) Generator
PD%&6s PF: generator doesn6t really fall in the category of
Hlittle thingsI, but this chapter is a handy place to
introduce this action$
<@<'PD%&$ &nvelope PF: Benerator
They can be used to generate an PF: envelope. This can
be pan, volume or mute for selected takes 9audio or L)D)=,
or any track or F2 parameter envelope.
<imply select the e/isting media item or envelope, mark
any reAuired loop or time selection, then run the action.
The dialog bo/ shown on the right will be displayed.
<ettings include Tar'et 9<elected Track &nvelope,
<elected Take or <elected L)D) Take=, Se'(ent 9time
selection, pro1ect or loop=, :F) Sha!e 9including sine,
triangle, sAuare and various saw options=, Fre6uency,
2elay, )ffset T, and Stren'th. For L)D) items you
should also specify a channel.
)n the e/ample shown
here, the action En4elo!e
:F) Generator has been
used with an e/isting pan
envelope on a Buitars
folder so as to control the
panning for the time
selection of the entire
submi/.
+,
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REAPER Plus! The Power of SWS Extensions 84 1..19
".1# So -any Actions1 So Few Heys ...
:ne commonly heard 9and understandable= complaint is that %&P&% has many more assignable actions than
there are keyboard combinations, or than you can realistically e/pect to fit on a custom toolbar or menu. dd
the <@< and 2enakios e/tensions into this mi/ and this problem gets worse. <tart creating your own custom
actions and macros and you can fund yourself in trouble.
<omething to keep in mind is that %&P&% allows you to use more keyboard combinations than you might at
first realise. part from using alphanumeric and other keys on their own, PC users can use them in combination
with any of Shift, 3ontrol, Alt and 9since %&P&% +.-#= Win 9windows key=. For :<'2 users the eAuivalents
are Shift, 3o((an&, )!tion and 3ontrol=. The e/amples used throughout this book use PC e/amples.
For e/ample, you could assign to an action 1ust H, or perhaps 3trlJH, or perhaps ShiftJWinJH.
&ven so, you might still run out of easily accessible combinations. :ne way of dealing with this is to take
advantage of a feature of %&P&% that is often overlooked.
Jou can save and retrieve different keyboard assignments, different menu maps, and different toolbars and
easily record them at will. :f course you wouldn6t want to be doing this every five minutes, but if you plan
carefully, this solution is workable.
)dentify which actions you are likely to need, for e/ample, only when you are building your pro1ect, which you
are likely to need when editing, which are most useful to
you when you are mi/ing ? and which you need all the
time. These can then be saved into different groups, to be
imported and used as reAuired. This enables you, for
e/ample, to assign the same keystrokes to several
different commands or actions. @hich one you use at any
time will depend on which stage of your pro1ect you6ve
reached.
Jou6ll find more information about e/porting and
importing these settings in the %&P&% 5ser Buide, but
here is an overview.
REAPER Hey -a!s can be e/ported 9saved to
file= and imported 9retrieved= using the
C(!ort%Ex!ort button in the bottom left
corner of the Actions window.
The process is Auite simple and
straightforward.
REAPER custom menus and toolbars can be
e/ported 9saved to file= and imported
9retrieved= using the Ex!ort and C(!ort buttons at the bottom of the 3usto(i/e -enus%Toolbars window.
".11 C Won&er Cf REAPER 3an 0. I
)n this chapter you have been shown a fairly broad selection of e/amples of how the <@< e/tensions can add
e/tra functionality to %&P&%. >uite often finding the right action for the 1ob can be an answer to one of those
H) wonder if %&P&% can U.(I Auestions. Ke prepared to e/plore these actions for yourself, and to grow in
confidence as you grow in knowledge.
+.
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< B .uil&in' Si(!le 3usto( Action -acros
< .uil&in' Si(!le 3usto( Action -acros
)n this chapter you will learn how to build and e/ecute your own simple custom action macros, including in
some cases both <@< actions and %&P&%6s own native actions. Ky now you should already know how to assign
actions to shortcut keys, toolbars, menus, and 9if appropriate= e/ternal control devices. These seAuences of
instructions will therefore not be repeated.
Custom actions are created by stringing together two or more individual actions, so that when the custom
action is e/ecuted, each of the individual actions that it contains are e/ecuted in seAuence.
<.1 3usto( Actions for Trac, an& Fol&er -ana'e(ent
Pet6s start with the e/ample of creating custom actions to help with folder management. )f you filter your
actions list using the word fol&er, you should come up with something similar to this$
+D
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REAPER Plus! The Power of SWS Extensions 84 1..19
Pooking through this list, you might at first be pu77led at some of the items that have been included. @hy, for
e/ample, would you need to use an action Trac,$ 3ycle Selecte& Fol&er 3olla!se& State when there is an
icon on every folder which does this(
The answer to such Auestions is often this$ even though you might be unlikely to want to e/ecute this action by
itself, it can nevertheless be very useful when included in a custom action along with other actions. @e6re about
to see an e/ample of this.
Pre!aration
#. :pen the file StayWith-e"? and save it as StayWith-e<1
!. @e are going to create a custom action to toggle the display of the contents of all track folders.
Tutorial
#. :pen the Actions :ist E&itor 9Actions1 Show Actions :ist 0= then click on the Kew... button
beside the te/t 3usto( Actions.
!. Type a name$ To''le Fol&er 2is!lay.
+. <elect first the action 9left pane= SWS$ Sa4e current trac, selection, then double3click on this to
make it the first command in your custom action. Then select SWS$ Select all fol&ers 8!arents
only9 and double click to add it to the custom action. %epeat this for Trac,$ 3ycle selecte& fol&er
colla!se& state and for SWS$ Restore sa4e& trac, selection. <elect the option to 3onsoli&ate
*n&o Points 9see below=.
-. Click on )H
C. )f you wish to assign a keyboard shortcut and'or a control surface button to this action, click on the
A&&... button and specify the keystroke combination and'or control surface button, as you did in
Chapter !. Then U
E. )f you wish to add this custom action to your Soom'&dit toolbar, or to one of the %&P&% menus, do
this now, using the same method as in Chapter !.
,. 5sing whichever method you selected at steps C. and E., e/ecute this custom action several times.
0otice how the display of tracks within your folders is changed each time. 0otice also how you can do
this regardless of whatever track9s= is'are selected when the action is e/ecuted.
.. <ave the file.
-"
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< B .uil&in' Si(!le 3usto( Action -acros
This macro is actually Auite a good e/ample of how and when you might want to include both a Store and a
Restore action within a custom action. )n this case you want to do something to a particular selection of tracks
9it happens to be folders= but you might not want to lose the current track selection. The answer is simply to
store the current selection at the beginning of the macro and recall it at the end.
@ith a little thought, you should find no shortage of ideas for track and folder management macros to suit your
workflow. nother e/ample is shown below. This macro will help you to claw back some screen real estate
when you want it by finding and minimi7ing all tracks that do not contain any media items. These could be
folders, tracks where you simply have not yet recorded, F2 or other busses, or some combination of these.
Jou might have noticed when browsing that the track selection actions include several options for hiding and
showing tracks in the track control panel and'or the mi/er control panel. @e6ll come to these in detail in Chapter
, when we e/amine the <@< track list and track management module, but in the meantime here are a couple
of simple but useful e/amples of how you might wish to apply some of these actions.
Show 8an& increase hei'ht of9 only the current trac, selection$
<@<$ <ave current arrange view
<@<$ Tide unselected tracks
<@<$ 2enakios'<@<$ <et selected track9s= height9s= to K
Restore sa4e& arran'e 4iew$
<@<$ %estore arrange view
Show all trac,s$
<@<$ <how all tracks
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REAPER Plus! The Power of SWS Extensions 84 1..19
<." Si(!le -e&ia Cte( E&it -acros
&veryone6s editing needs will be different. <ome people will need to freAuently perform a task which may be
almost never needed by other people ? and vice versa. For this reason, it would be very difficult to give you a
series of item editing macros that would be useful for everybody. s in previous sections, take a look at the
e/amples that are included here and see what you can learn from them. Topefully you will find them useful, but
even if you do not come to implement these particular e/amples, they should at the very least help you to
identify other areas where item editing macros might be useful.
)n this section, it is again assumed that you have the option 9under &diting Kehavior, Louse= Select both
ti(e an& ite(s when usin' ri'ht clic, (ar6uee enabled.
2elete an& Restore Part of an Cte(
Jou probably already have developed your own preferred method for deleting sections of an item. :ne way is
to do the following$
%ight click and drag over the media item to select the reAuired area.
Press 3trlJ2elete
This has already been in the items shown below. :riginally one item, three sections have been deleted from it,
so that it now consists of four separate items.
The following macro will allow you to recover any deleted segment, including 9for e/ample= that between
markers # and !. )ncidentally, the markers here are of no special significance. They are there solely to help
illustrate the e/ample.
Jou could now select any item immediately to the left of any deleted portion that you wish to restore, then run
this macro. )n the e/ample shown above, you could select the third item then run this macro to restore the
portion between markers # and !.
-!
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< B .uil&in' Si(!le 3usto( Action -acros
The following table lists some of the <@< actions that you might find useful when creating your own item
editing macros.
Actions 3o((ents
A&& ite(8s9 to left of selecte& ite(8s9 to
selection
dds the first item to the left of each item in the current item
selection to that selection.
Lay be used with multiple tracks.
A&& ite(8s9 to ri'ht of selecte& ite(8s9 to
selection
dds the first item to the right of each item in the current
item selection to that selection.
Lay be used with multiple tracks.
Lori/ontal /oo( to selecte& ite(8s9 Soom hori7ontally to the current item selection.
Restore sa4e& selecte& ite(8s9 %estores previously saved item selection.
Sa4e selecte& ite(8s9 <aves current item selection.
Vertical /oo( to selecte& ite(8s9 Sooms vertically to the current item selection.
Ku&'e ite( !ositions left or ri'ht1 beat
base& or ti(e base&
set of four actions any of which can be used to nudge all
items in the current item selection, as reAuired.
Select ite(s to en& of trac, <elects all items to the right of 9and including= the currently
selected item in the current track.
Select ite(s to start of trac, <elects all items to the left of 9and including= the currently
selected item in the current track.
S!lit ite(s at transients )dentifies each transient and splits the selected waveform
into its individual elements. )llustrated below is an e/ample
of this, before and after.
-+
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REAPER Plus! The Power of SWS Extensions 84 1..19
<.< Trac, Archi4e -acro
@e6ll look at one more e/ample of how <@< actions can be built into custom action macros before going on
9from Chapters - thru #"= to e/amine each of the main <@< modules in more detail.
This simple track archive macro can be used to deal with tracks that are most probably no longer reAuired as
part of your pro1ect. Jou don6t want to delete them in case you later need to change your mind. )nstead, you
can mute them 9together with any sends or receives=, set their F2 off3line and hide them from track and mi/er
view. This custom action will do this for you$
Jou can then select any track 9or combination of tracks= and run this custom action to essentially archive the
track selection. Jou should also consider in the udio Page of your %&P&% Preferences enabling the option 2o
Kot Process -ute& Trac,s.
Custom actions like this are at their most powerful when used in con1unction with the <@< Tracklist Lanager,
which we6ll get to in Chapter ,. Leanwhile, you should be aware of the following simple action in case you need
to restore any archived tracks to your pro1ects$
SWS$ Show all trac,s
Jou can then unmute, restore F2, etc on those tracks that you have brought back into view and wish to now
bring back into your pro1ect. :f course you could do this manually ? or you could create an HunarchiveI custom
macro to do this$
*narchi4e Trac,s -acro
Trac,$ *n(ute selecte& trac,s
SWS$ *n(ute all sen&s fro( selecte& trac,8s9
SWS$ *n(ute all recei4es for selecte& trac,8s9
Trac,$ Set all FA online for selecte& trac,s
Trac,$ *nselect all trac,s.
--
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< B .uil&in' Si(!le 3usto( Action -acros
:ne potential problem with archiving tracks is that you can easily forget what is and isn6t there. Tappily, one
way of keeping on top of this is to use the routing matri/. <hown below is the routing matri/ for a particular
pro1ect with track #" to track #- archived 9top= and unarchived 9bottom=.
-C
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REAPER Plus! The Power of SWS Extensions 84 1..19
-E
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> B SWS Pro7ect -ana'e(ent
> SWS Pro7ect -ana'e(ent
The <@< &/tension set provides you with a whole set of useful commands of actions designed to help you
whenever you have a number of %&P&% pro1ect 9.%PP= files that belong together as a set. This might be the
case, for e/ample, where you have four or five songs that are being recorded for a demo CD, or where you are
e/perimenting with perhaps two or three different arrangements before deciding which you prefer to use for
your final recording of a particular song.
>.1 )r'ani/in' Uour Pro7ects
)n any event, before you even look at the available <@< commands and actions you need to understand one
very important ? indeed, critical ? fact about pro1ect management. That is$
0o matter how good the <@< pro1ect management tools may be, they will be of little or no
use to you unless you yourself are prepared to take the time and trouble to organi7e your
pro1ects sensibly.
Pet6s take an e/ample of this.
<uppose you are working on five songs that you want to include on a demo CD. Jou don6t need to organi7e
these into a tidy filing system in order to do this, but it will make life a lot easier for you if you do. %emember
that these five songs don6t only belong together when you6re working in %&P&% ? they also belong to each
other when you are copying the files to data DVD,or backing them up to an e/ternal hard drive.
The screenshot below shows an e/ample of how you might wish to organi7e your pro1ect files for a case such as
this. Jou have 9in this case on a D$ drive= a main folder called REAPER Au&io Pro7ects. This has a sub3folder
for each of your groups of pro1ect files. These include a group called 9in this case= 2e(o 32. @ithin this folder,
there is a separate folder for each song that belongs in this group$
:ver the page is shown another e/ample of when you might wish to manage and keep tabs on a number of
pro1ect files as a group. )n this case, we have several different versions of the same pro1ect. )n fact, it is the
sample pro1ect that we have been using for the e/ercises in this 5ser Buide.
-,
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REAPER Plus! The Power of SWS Extensions 84 1..19
)n this case, all of the pro1ect files are stored in the same folder, essentially because they all use the same
media 9in this case .:BB= files. Currently, there are four different versions of the <tay @ith Le pro1ect file. This
is the e/ample that we will be using in the tutorials in this chapter.
>." SWS Pro7ect -ana'e(ent 3o((an&s
-.
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> B SWS Pro7ect -ana'e(ent
The SWS Pro7ect -ana'e(ent command can be found on %&P&%6s main file menu. Choosing this
command causes a menu to be displayed with four main options, followed by a list of any pro1ects that are
related to the current pro1ect. The menu options are as follows$
3o((an& 3o((ents
Sa4e list of all o!en !ro7ects ... <aves all currently open pro1ects to a %eaper Pro1ect Pist
9.%PP= file. This file can then be used to open all these
pro1ects together.
)!en !ro7ects fro( list 0 llows you to select a .%PP file and open it. ll pro1ects listed
in that file will then be opened.
A&& relate& !ro7ect8s9 0 This command lets you build groups of pro1ect files so that
they are linked less tightly than is the case with ordinary
pro1ect lists. Files within related pro1ect groups can be
opened and closed individually without necessarily needing to
open the whole group.
2elete relate& !ro7ect8s9 ... This command is used to remove a pro1ect from a list of
related pro1ects. 0ote that it only removes the pro1ect file
from the group$ it does not delete the actual .%PP file.
SWS Pro7ect :ist :pens the <@< Pro1ect Pist window$ this can be used to help
manage a pro1ect list and its constituent files.
Relate& !ro7ect list @here related pro1ects have been added to the currently
open pro1ect, these will be listed on the <@< Pro1ect
Lanagement sub3menu. )n the e/ample illustrated above,
the currently open pro1ect has four pro1ects related to it.
For most intents and purposes, these commands can be regarded as falling into two sets. The first two
commands 9<ave Pist and :pen from Pist= make up one set 9being commands that manage pro1ect list files=,
the remaining commands make up the other 9being the commands that manage related pro1ects=.
s well as the menu commands listed above, there are a number of other <@< actions which can be assigned
to keyboard shortcuts, toolbar icons, %&P&% menus and'or control surface buttons to assist you with your
pro1ect management. Together these are listed below$
<@<$ <ave list of open pro1ects
<@<$ :pen pro1ects from list
<@<$ dd related pro1ect
<@<$ Delete related pro1ect
<@<$ :pen related pro1ect Z# thru C[
<@<$ <witch to pro1ect tab Z# thru #"[
<@<$ <witch to first pro1ect tab
<@<$ <witch to last pro1ect tab
<@<$ :pen Pro1ect Pist
The H:pen related pro1ectI and H<witch to pro1ect tabI e/tensions are intelligent$ for e/ample, if you are
working with a pro1ect file open that has more than five related pro1ects, then the necessary number of e/tra
actions are automatically made available. For e/ample, if a pro1ect with si/ related pro1ects has focus, then the
action <@<$ :pen pro1ect E will also be available.
5nfortunately, at the time of writing, it is not yet possible to customi7e the Pro1ect Tab conte/t menu. Towever,
the tutorials that follow will show you how both sets of commands together with their associated assignable
actions, can be used to assist with your pro1ect management.
-D
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REAPER Plus! The Power of SWS Extensions 84 1..19
>.< Pro7ect :ist -ana'e(ent
The techniAues and procedures for working with and managing pro1ect lists are as follows$
Acti4ity -etho&
3reate a !ro7ect list containin' a 'rou! of
!ro7ects
:pen each pro1ect file reAuired individually in its own pro1ect
tab, then use the File1 SWS Pro7ect -ana'e(ent1 Sa4e
:ist of All )!en Pro7ects command.
)!en all files in a !ro7ect list 5se the File1 SWS Pro7ect -ana'e(ent1 )!en Pro7ects
fro( :ist command.
A&& a !ro7ect to an existin' !ro7ect list :pen the pro1ect list, then open each of the files you wish to
add to the pro1ect list, each in its own pro1ect tab. Then use
the File1 SWS Pro7ect -ana'e(ent1 Sa4e :ist of All
)!en Pro7ects command to resave the list.
Re(o4e a !ro7ect fro( a !ro7ect list. :pen the pro1ect list, then close any file9s= you wish to
remove from the pro1ect list. 5se the File1 SWS Pro7ect
-ana'e(ent1 Sa4e :ist of All )!en Pro7ects command
to resave the list.
)n this tutorial, you will be shown how to$
Create a pro1ect list.
:pen the files on a pro1ect list.
dd files to a pro1ect list.
%emove files from a pro1ect list.
Tutorial
#. <tart %&P&%. Close any file that is automatically opened.
!. :pen the file StayWith-e.RPP
+. Choose the command File1 Kew Pro7ect Tab to create a new pro1ect tab, then open the file
StayWith-e"<.RPP
-. Create another new pro1ect tab and open the file StayWith-e"?.RPP
C. 5se the command File1 SWS Pro7ect -ana'e(ent1 Sa4e :ist of )!en Pro7ects to access the
Sa4e Pro7ect :ist dialog bo/. 0avigate to whichever directory you wish to use to save the list.
E. )n the File Ka(e bo/, type StayWith-eFiles and click on Sa4e.
,. Choose the command File1 3lose All Pro7ects to close all files.
.. Choose the command File1 SWS Pro7ect -ana'e(ent1 )!en Pro7ects fro( :ist command.
D. @hen the Select Pro7ect :ist dialog bo/ is displayed, navigate to the appropriate directory and select
StayWith-eFiles.RP: then click on )!en.
#". ll three pro1ects will now be opened, each in its own tab. Jou can switch from tab to tab and work
with any of the three. @e are now going to add a pro1ect to this list.
##. Create a new pro1ect tab and open the file StayWith-e"<.RPP
C"
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> B SWS Pro7ect -ana'e(ent
#!. 0ow give the command File1 SWS Pro7ect -ana'e(ent1 Sa4e :ist of )!en Pro7ects. <elect
StayWith-eFiles and click on Sa4e. @hen prompted, choose Ues to overwrite the old list.
#+. 0ow if you close all files then open the pro1ects from the list all four pro1ect files will be opened.
This feature opens up staggering possibilities for you when you are building and mi/ing your pro1ects. Tere are
1ust some of the options open to you$
&ach pro1ect in the group of files will retain its own separate 5ndo Tistory, which can be loaded and
saved with the files. This offers you almost limitless fle/ibility to e/periment.
Jou can copy and paste between files open in different tabs. For e/ample, you can copy F2 complete
with their settings, or complete F2 chains from one open pro1ect to another.
Jou can use different track screen sets with different files if you wish.
Jou can use different play rates on different files and compare them to see which you prefer.
Jou can use different effects or the same effects on different flies in the group, as you wish. Jou can
then use different automation, different envelopes, different parameter modulation and so on in the
different pro1ects.
Finally, to complete the tutorial$
#C. dd another new pro1ect tab and open in that tab any other pro1ect, one that doesn6t really belong in
this group.
#E. %epeat step #!. above to resave the pro1ect list.
#,. Close all files, then open the pro1ects from the list. This will include the one that you 1ust added.
#.. Close the pro1ect tab of the unwanted file 9see below=
#D. %epeat step #! to resave the pro1ect list. The list will be saved without the pro1ect that you 1ust closed.
Kote$ .RP: Files
5nfortunately, %eaper Pro1ect Pist files share the same e/tension 9.%PP= as %eaper Preset Pibrary files. These
latter files are created when you save F2 presets into a library. )n practice this is unlikely to cause any real
confusion. %eaper Preset Pibrary files are unlikely to be stored with your pro1ects$ furthermore, their file names
include the name of the plug3in with which they are associated ? for e/ample, reacomp.dll.rpl or reaeA.dll.rpl.
C#
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REAPER Plus! The Power of SWS Extensions 84 1..19
>.> The SWS Pro7ect :ist Win&ow
Tere is another situation to consider. Must because a file is included in a pro1ect list that does not mean that you
have to open the entire group every time you wish to work with that file. Jou can still use the normal File1
)!en Pro7ect command any time that you wish to work with the file by itself.
0ow consider this. Perhaps you are working with one or two files open, both of which are also included in a
pro1ect list. Perhaps you make some change to one file that you want to copy to one or more of the other
pro1ects in the list. This could, for e/ample, be the addition of some effect of effects to a particular track6s F2
chain.
That6s an e/ample of where the SWS Pro7ect :ist window can come in handy. Jou can open this using the
File1 SWS Pro7ect -ana'e(ent1 SWS Pro7ect :ist command, or by assigning a keyboard shortcut or
toolbar icon to the action SWS$ )!en Pro7ect :ist. :nce open, this window 9which can be docked or floated,
as you wish= can be used for easier pro1ect list management.
n e/ample is shown above. )n this case, two pro1ects are already open. Jou can right click over the Pro1ect Pist
window and open the entire list from the Pro1ect Pist window. The Pro1ect
Pist then can make life a lot easier than hopping between tabs when you are
working with a large number of pro1ects open at the same time.
)f you are working in a situation such as this, you should choose Ues when
asked if you wish to 3lose Acti4e Tabs First. :therwise those files will be
opened again, so that each will be open twice, in two separate pro1ect tabs.
Kelow is a summary of the <@< Pro1ect Pist window commands.
3o((an& Ex!lanation
Sa4e list of o!en !ro7ects 0 <aves all currently open pro1ects into a pro1ect list.
)!en !ro7ects fro( list 0 :pens all pro1ects from a pro1ects list. Jou will be prompted
to decide whether you want currently open pro1ects closed
first.
2oc, Pro7ect :ist in 2oc,er Toggles the docked status of the <@< Pro1ect Pist @indow.
3lose Win&ow Closes the <@< Pro1ect Pist @indow.
2oubleBclic, on any !ro7ect na(e :pen'select that pro1ect.
C!
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> B SWS Pro7ect -ana'e(ent
>.; Relate& Pro7ect -ana'e(ent
The techniAue of relating pro1ects is less formal and less rigid than is that of creating lists of grouped pro1ects.
s you have already seen, when you create a file list, you are able to easily and Auickly open all files in that list
with a single command. This is not the case with related pro1ects. %elated pro1ects are simply listed on the File1
SWS Pro7ect -ana'e(ent menu 9as a Auick and easy way of accessing them= whenever the pro1ect to
which they have been related is open.
This loose and informal arrangement has many potential applications. For e/ample, you might have some
pro1ect files which contain a large number of audio samples that you might wish to use when building a new
pro1ect. Ky relating the sample files to the new file you can be sure that these sample files can at any time be
easily accessed. nother e/ample could be when you are working on a number of different pro1ect files,
perhaps as part of a CD or some other collection. )f you open one of these pro1ects and then relate the others
to it, it becomes easy for you to work on two or more of these pro1ects together if you wish to.
5nlike the file lists used in section -.+, information about related pro1ects is not stored in a separate file.
)nstead, the information is written into the .%PP file that has focus at the time the other files are related to it.
Tutorial
)n this e/ample, you will learn how to relate a number of pro1ects to an open .%PP pro1ect file. 5se any of your
own e/isting pro1ect files for this e/ercise.
#. Close any %&P&% pro1ects that you have currently open.
!. :pen any pro1ect file of your choice.
+. Choose the File1 SWS Pro7ect -ana'e(ent command, then A&& Relate& Pro7ect U
-. @hen the Select Relate& Pro7ect8s9 dialog bo/ appears 9see below=, navigate to the reAuired pro1ect
and click )!en.
C. %epeat steps +. and -. three times, selecting each time another pro1ect that you would like to be
related.
C+
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E. )f you now display the File1 SWS Pro7ect -ana'e(ent submenu, you will see that these four
pro1ect flies are now listed there. <elect any one of these$ it will be opened in a new pro1ect tabs. Jou
should now have two pro1ects open.
,. Display the File1 SWS Pro7ect -ana'e(ent submenu for the file that you have 1ust opened. )t will
not list any related pro1ects. The relationships that you have created all e/ist in the first file only. :f
course, you can create eAuivalent relationships for this file if you wish.
.. 0ow select your first pro1ect file again.
D. 5se the File1 SWS Pro7ect -ana'e(ent command to create another new file relationship.
#". :pen another of these files from the File1 SWS Pro7ect -ana'e(ent menu of the first file.
##. Pet6s now decide that you want to remove one of these relationships.
#!. Choose the File1 SWS Pro7ect -ana'e(ent command, then 2elete Relate& Pro7ect. SWS
2elete Relate& Pro7ect dialog bo/ will be displayed 9see below=.
#+. <elect any song from the drop down list, then click on )H. The pro1ect will be removed from the list of
related pro1ects. The pro1ect will, of course, not be deleted from your hard drive. )t will still be available
to you in e/actly the same way as it was before.
>.? Trac, -ana'e(ent with Relate& Pro7ects
@e have %&P&% forum member LercadoF0egro to thank for this ne/t e/ample.
<uppose that in building a pro1ect you create a number of tracks that you are not sure that you want to use in
your final pro1ect. :ne option is to use a related pro1ect file to store any that you are currently not using. This
helps avoid screen clutter and unnecessary file si7e bloat in the pro1ect that you are building.
Create a special archive file for this purpose. For e/ample, if the main pro1ect file is called Su((er.RPP, call
the archive file Su((er Archi4e.RPP. @ith the main file open and in focus, use the A&& Relate& Pro7ect
command add the archive file to it as a related pro1ect. Then create this simple macro$
Tracks$ Cut selected tracks
<@<$ :pen related pro1ect #
)tem$ Paste items'tracks
File 3\ <ave pro1ect
Close current pro1ect tab
0ow at any time you can select any tracks in your main pro1ect and run this macro to automatically have them
removed from the main pro1ect and added instead to the archive pro1ect.
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; SWS -ar,er -ana'e(ent
;.1 The SWS -ar,er :ist
)n Chapter ! of this guide you encountered smart markers 9also known as command markers=. )n this section
you will] be introduced to some more <@< marker and region management capabilities, using the Larker Pist.
s with so many of the <@< features, don6t be deceived by the simplicity of its name. The <@< Larker Pist
module has a great deal more functionality than simply listing markers.
Display of the <@< Larker Pist can be toggled using any of these methods$
Choose View from the main menu, then SWS -ar,er :ist.
Choose E&it from the main menu, then SWS -ar,er *tilities, then Show SWS -ar,er :ist.
5se the keyboard shortcut 3trl J Shift J -.
The various
commands that you
have at your disposal
for managing your
markers and regions
can be accessed by
right clicking over the
Larker Pist window
9see above=, or from
the E&it1 SWS
-ar,er *tilities
menu 9see right=.
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;." A4ailable -ar,er Actions
Kefore e/ploring the powerful features that the <@< Larker Pist has to offer, it6s worth taking a moment to
review the most important of the marker actions that are available to you, both <@< actions and those native to
%&P&%$
<@<$ :pen marker list 9toggles showing the marker list window=
<@<$ Poad marker set
<@<$ <ave marker set
<@<$ Delete marker set
<@<$ Copy marker set to clipboard
<@<$ Copy markers in time selection to clipboard 9relative to selection start=
<@<$ Paste marker set from clipboard
<@<$ %eorder marker )Ds
<@<$ Delete all markers
<@<$ Delete all regions
<@<$ &/port formatted marker list to clipboard
<@<$ Tracklist format
<@<$ <elect ne/t region
<@<$ <elect previous region
Pocking$ <et marker locking mode
Pocking$ Clear marker locking mode
)tem$ <plit selected items at pro1ect markers
Larkers$ dd'move marker # Zthru #"[ to play'edit cursor
Larkers$ Bo to marker # Zthru #"[
Larkers$ Bo to ne/t marker'pro1ect end
Larkers$ Bo to previous marker'pro1ect start
Larkers$ )nsert marker at current position
Larkers$ )nsert and'or edit marker at current position
Larkers$ )nsert region from time selection
Larkers$ %enumber all markers in timeline order
Larkers$ &dit marker near cursor
Larkers$ &dit region near cursor
Do not forget that any of
these actions can be assigned
to shortcuts or toolbars, or
added to %&P&% menus 9as
shown right=.
They can also be combined
into custom actions or
macros. @e6ll have more to
say about this later.
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;.< SWS -ar,er 3o((an& Su((ary
)n a moment we6ll work thru a tutorial which will help you to understand how powerful and useful the <@<
Larker Pist module is, and how you can yourself put it to good use. First, and for reference purposes, here is a
summary of the main commands that you will find on the <@< Larker 5tilities menu. Lost of these commands
can also be found on the <@< Larker Pist window right3click conte/t menu.
3o((an& Ex!lanation
:oa& -ar,er Set 0
This command appears in this form only on the <@< Larker
5tilities menu. )t displays the :oa& -ar,er Set prompt for you
to select any previously saved marker set to be loaded.
This command only has any meaning if at least one marker set
has previously been created with the current pro1ect file. @here
this is the case, the option to load each named marker set will
also appear on the <@< Larker Pist window right click conte/t
menu.
Sa4e -ar,er Set 0
<aves all current markers into a new set. Prompts you for a name
before doing so. Ky using marker sets, you are able to switch
between different sets of markers when working with different
tracks or groups of tracks.
2elete -ar,er Set 0
Displays the 2elete -ar,er Set prompt for you to select any
previously saved marker set to be deleted.
3o!y (ar,er set to cli!boar&
Copies all current markers into the @indows clipboard. These can
be pasted into another %&P&% pro1ect if you wish.
This can be useful, for e/ample, if you have more than one
pro1ect file all of which are different versions of the same pro1ect.
Paste (ar,er set fro( cli!boar&
Pastes into the current pro1ect all markers previously copied into
the @indows clipboard.
Reor&er (ar,er C2s
%enumbers all currently displayed markers, from left to right. Jou
should definitely consider either using the ction Pist &ditor to
assign a keyboard shortcut to this one or adding it to the
%uler'rrange conte/t menu.
Reor&er re'ion C2s
%enumbers all currently displayed regions, from left to right.
2elete all (ar,ers
Deletes all currently displayed markers, but does not affect the
contents of saved marker sets.
2elete all re'ions
Deletes all currently displayed regions.
Ex!ort trac, list to cli!boar&
&/ports track list.
Trac, list for(at ...
Pets you specify which information is to be included when the list
is e/ported to the clipboard.
2oc, -ar,er :ist in 2oc,er
Docks the Larker Pist window in the %&P&% docker
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The tutorials in this section are designed primarily to show you how the <@< e/tensions can be used to help
you get the very best out of using %&P&%6s markers. Try and keep focussed primarily on the techniAues that
are being used here rather than being too concerned about the actual e/amples themselves.
;.> 3reatin' an& *sin' -ar,er Sets
)n this section you will learn how to$
Create different marker sets for use with different tracks and groups of tracks.
<witch between different marker sets.
Laintain marker sets, including modifying them and deleting them.
Tutorial
#. Close any other files that may be open and open the file StayWith-e"<.
!. <ave this file as StayWith-e;>
+. For the sake of this e/ercise, delete any markers that you may have previously added to this file.
-. @e are now going to create some markers and regions specifically to help us when editing and'or
mi/ing the vocal tracks.
C. Display the <@< Larker Pist window. Create four markers at the appro/imate positions shown above.
These mark the beginning and end of each vocal passage of the song.
E. Create regions 9shown above= for each of the passages between marker # and marker ! and marker +
and marker - respectively. To do this, you need in each case to make a time selection between the two
markers, then use the conte/t menu command to Create %egion from <election. 0ame these markers
Verse # and Verse !. The last section of this chapter includes a handy macro that will do this.
,. %ight click over the Larker Pist window to display its conte/t menu. Choose Sa4e -ar,er Set then,
when prompted, type Vocals and press Enter.
.. To check that this has worked, right click over the <@< Larker Pist to display its menu. The command
:oa& Vocals should now appear on this menu.
C.
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D. To show how this works, choose the 2elete all -ar,ers then the 2elete All Re'ions command
from this menu.
#". %ight click again and choose
:oa& Vocals from the menu
9see right=. Jour markers and
regions will now be restored.
##. 0ow delete all markers and
regions again.
#!. 0ow create two markers and a
region for the harmonica, as
shown below$
#+. <ave this marker set as Lar(onica.
#-. Jou can now use the Larker Pist menu to load either marker set, switching between them as you wish.
:f course, you can have in any one pro1ect file as many such marker sets as you wish. For the sake of
this e/ample, we only need the two.
#C. <ave the file.
#E. @ith the Tarmonica marker set selected, add another marker at appro/imately ! min ## sec. Call this
.rea, en&.
#,. 5se the Reor&er -ar,er C2s command to renumber these markers seAuentially.
#.. %ight click and choose Sa4e -ar,er Set from the menu. <elect Lar(onica from the available drop
down list and click )H. )f the <ave Larker <et bo/ remains open, click on 3ancel.
#D. Delete the Tarmonica region 9but not the markers=. %esave the marker set Tarmonica. This will now be
saved without the region. <ave the pro1ect file. Do not yet close this file.
!". Pet6s now suppose that we want a further marker set, one for more general use with this file. There6s a
number of ways that you could do this. :ne way is to take an e/isting set, modify it and save it as a
new set.
!#. Poad the Vocals marker list.
!!. %ight click over the marker list window and choose 2elete All Re'ions.
!+. dd a marker at the point where the song begins 9appro/imately " min -.+ sec=, and another at the
point that you want the fadeout to end 9appro/imately + min +D.DC sec=.
!-. %enumber the markers 9right click, Reor&er -ar,er C2s=.
!C. 0ow save these markers as a marker set called General.
CD
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!E. 0ow when you switch between marker sets, the Tarmonica set will include the e/tra marker that you
added, but not the region that you deleted. Jou will also have an e/tra set, General, with si/ markers
9see below=.
!,. <ave the file.
;.; 2oc,in' the SWS -ar,er :ist Win&ow
The <@< Larker Pist window can be docked in
%&P&%6s docker in much the same way as can
most other windows. <imply choose the
command 2oc, -ar,er :ist in 2oc,er from
the conte/t menu. This command is a toggle$
choosing the same command again will undock
the Larker Pist window.
Jou should consider leaving the window floating
9undocked= when you are creating your markers
and marker sets, but docked when you have all
or most of these set up.
This brings you at last these two possible
advantages$
)t saves significantly on screen real
estate.
Jou can still access any of the marker
list conte/t menu commands by right
clicking over the Larker Pist tab in the
docker, without even having to give
focus to the Larker Pist window 9see
right=.
Jou can, of course, still display the docked
marker list window by simply left clicking on its
tab. s you continue to work thru the other
chapters of this 5ser Buide, keep in mind that the other <@< module windows that you will encounter can also
be docked and undocked in this way.
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; B SWS -ar,er -ana'e(ent
;.? 3o!yin' -ar,ers .etween Pro7ects
5sing The <@< Larker Pist and'or <@< ctions you can copy markers and sets of markers from one pro1ect to
another. )n this section you will learn how to do this.
The two marker list commands or actions to look out for in this section are$
Copy marker set to clipboard
Paste marker set from clipboard
Koth of these are also available as <@< actions, and can therefore be assigned to shortcut keys, toolbars or
menus as you wish. )n addition, there is a further menu that you will not find on the Larker Pist menu$
<@<$ Copy markers in time selection to clipboard 9relative to selection start=
@hen you use this last action, all markers within the current time selection are copied to the clipboard and their
position is held relative to the time selection start. @hen this selection is pasted into another pro1ect, the time
selection is reproduced relative to the current play cursor position in that pro1ect. For e/ample, you might make
a time selection from, say, # min " sec to ! min " sec in one pro1ect and copy the markers in that selection into
the clipboard. )f you switch to another pro1ect file and place the play cursor at, say, the + min " sec mark
before pasting the markers from the clipboard, then those markers will be copied and reproduced between +
min " sec and - min " sec in this second pro1ect.
Tutorial
%ight now, however, we are going to work thru an e/ample which copies marker sets from one pro1ect file to
another.
#. )f the pro1ect file StayWith-e;>.RPP is not still open from the previous tutorial, open it.
!. 5se the File1 SWS Pro7ect -ana'e(ent command, then )!en Pro7ects Fro( :ist to open the
files in the StayWith-eFiles.RP: list.
+. @hen asked if you wish to 3lose Acti4e Tabs first 9see right=,
choose Ko.
-. The four files in this pro1ect will be opened$ StayWith-e;>.RPP
will also stay open.
C. 5se the File1 SWS Pro7ect -ana'e(ent, Sa4e :ist of )!en
Pro7ects command to resave this list. ll five open pro1ect files will
now be included in the list.
E. <elect and display the pro1ect StayWith-e;>.RPP.
,. Lake sure the SWS -ar,er :ist window is displayed. %ight click over it and select the option to 2oc,
-ar,er :ist in 2oc,er. Display in the docker whichever other window you wish 9e.g. the Li/er=.
.. %ight click over the Larker Pist tab in the docker and select :oa& Vocals to load this marker set.
D. %ight click again and choose 3o!y -ar,er Set to 3li!boar&.
#". 0ow select the pro1ect tab StayWith-e"<.RPP
##. %ight click over the marker tab and choose Paste -ar,er Set Fro( 3li!boar&.
#!. The markers and regions will be pasted into this pro1ect and displayed along its timeline. Towever, they
have not yet been saved as a set in this pro1ect.
#+. %ight3click over the Larker Pist tab, choose Sa4e -ar,er Set, type Vocals and press Enter.
E#
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#-. 0ow select the pro1ect tab StayWith-e;>.RPP and load the marker set General.
#C. Copy this marker set to the clipboard.
#E. <elect the pro1ect tab StayWith-e"<.RPP and paste the marker set from the clipboard. This marker
set will now be displayed instead of the Vocals marker set.
#,. <ave the current marker set as General.
#.. Jou can now switch between the two marker sets, 1ust as you did earlier. Jou can, of course, add more
markers to, move markers, remove markers, and so on, to any displayed set within either pro1ect and
resave it.
#D. Lake sure that you save the pro1ect file StayWith-e"<.RPP.
;. Ex!ortin' For(atte& -ar,er :ists
The ability to e/port formatted marker lists is a specialist one. For the most part you are unlikely to have much
use for this while you are building your pro1ects. Towever, this feature could well come into its own as you
approach the completion of your pro1ects, for e/ample in any of the circumstances listed here$
Jou are preparing a collection of songs to be burnt to CD 9see e/ample below=.
Jou are preparing material to be presented as a radio show.
ny other circumstances in which the contents of the pro1ect file can be seen as making up a whole
program or collection rather than 1ust a single song.
:nce e/ported to the clipboard, a formatted marker list can then be pasted into any word processor, te/t editor,
or many other programs 9such as a te/t item within dobe Photoshop= so that it can be used, for e/ample, as a
track sheet, a playlist or set list, or as part of a CD cover.
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; B SWS -ar,er -ana'e(ent
The process consists of four stages, two of them within %&P&%. These are$
Define how you would like the list formatted.
&/port the formatted list to the @indows clipboard.
:pen the te/t editor, word processor, or other software
application.
Paste the material from the clipboard.
Choosing the Ex!ort For(at command from the <@< Larker Pist
menu causes the &/port Format settings bo/ to be displayed 9see
right=.
This bo/ consists of two main sections, namely$
n edit bo/ at the top, in which you enter the necessary
codes 9along with any te/t= to ensure that the material will
be formatted in the way you reAuire it, and U
<ome e/planatory notes. These are further e/plained in the
table and e/amples below.
:f course, at the bottom of this edit bo/ you will find the usual )H
and 3ancel buttons. These are self3e/planatory.
3o&e Ex!lanation
a or
r or
(
:ne of the letters a 9all, that is regions and markers=, r 9regions only= or m
9markers only= should always be the first letter of your format code.
The e/ample shown on the previous page uses both regions and markers. This
will enable us to show you how these different options work.
Uour Text t any point after the initial single letter code you can include any te/t that you
want included with every item in the e/port list. )f that te/t includes any of the
letters n, ), l, d, t or s, then those letters must be preceded by a backslash. For
e/ample, you might want to include one or more of your codes in parentheses,
or you might wish to include a word such as HTrackI or H)temI. The word
HTrackI would be written HWTrackI. Te/t can be inserted before your other format
code, in amongst them, or after them, as you please.
The remaining format codes can be used in any order you wish.
n This represents the marker or region count, starting at #. )t will not necessarily
be the same as the region or marker )D number displayed on the timeline.
i The marker or region )D number.
l The length of the item in hours, minutes and seconds.
& The marker or region description, commonly referred to as its name. This is the
te/t that you see displayed above the timeline.
t The absolute time in hours, minutes and seconds. This is accumulative. For
e/ample, if you have four songs of each e/actly three minutes each, at the start
of the fourth song the absolute time will be D minutes.
s The absolute time measured in pro1ect samples.
Kote$ )n the :<2 version of the <@< &/tensions, %&P&% uses an internal clipboard. This means that
unfortunately you cannot paste a formatted marker list into another program when using this version.
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Exa(!les of -ar,er :ist For(ats
Taking the same e/ample as that shown
in the illustration at the beginning of this
section 9C.,=, lets e/amine some
e/amples of how you could create a
formatted marker list for e/port.
The pro1ect is for a demo CD consisting
of four tracks. The start of each track is
indicated by a marker, and a region has
also been made from each track6s media
item.
&ach region is named similarly to its
corresponding region, the main
difference being that the marker names
all belong with a X. This is so that
%&P&% will know where each track begins when the pro1ect is burnt to CD.
The e/amples below have been chosen not as recommended models but to help you to understand how the
formats work.
Ex!ort For(at 3o&e %
3o((ent
Result when Ex!orte& an& Paste& % 3o((ent
( n & l
Larker, count, description and
length
# X Krady6s <ong "$""$""
! X <amantha6s <ong "$""$""
+ X @e Till The <oil "$""$""
- X @e re The Koys "$""$""
0otice$ The X is included with every description, there is no punctuation
added and the length of each marker is "$""$"". )n this conte/t, not too
useful really8
r VTrac, n. & 8l9
This time we select regions
instead of markers and add
some te/t and punctuation.
Track #. Krady6s <ong 9"$"!$CC=
Track !. <amantha6s <ong 9"$"+$!,=
Track +. @e Till The <oil 9"$"!$+E=
Track -. @e re The Koys 9"$"+$!-=
This looks much more like a proper track list8 )f you don6t like the space at
the start of each line, don6t leave a space between HrI and HTrackI in the
e/port format.
rVTrac, n. & 8l9 W t
This time we6ve added the
absolute time at the end.
Track #. Krady6s <ong 9"$"!$CC= 3 "$""$""
Track !. <amantha6s <ong 9"$"+$!,= 3 "$"!$CC
Track +. @e Till The <oil 9"$"!$+E= 3 "$"E$!+
Track -. @e re The Koys 9"$"+$!-= ? "$"D$""
This time we have removed the leading space in each line and added the
absolute time at the end.
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; B SWS -ar,er -ana'e(ent
;.@ )ther SWS -ar,er :ist Win&ow Features
The <@< Larker Pist incorporates a number of other features that are common to the other <@< windows
9such as the Tracklist and <napshots window=. These features are summari7ed in this section.
;.@.1 Win&ows Screen Set 3o(!atibility
ll of the <@< windows
are dockable. This
means that they can be
docked in and
undocked from the
docker.
They are also fully
compatible with
%&P&%6s @indows
screen sets.
@hen you save a
@indows screen set,
the <@< windows
status, and position
9open or close, docked
or floating, si7e, etc.=
are saved into that
screen set and will be
recalled with it.
;.@." 3usto(i/able 3olu(ns
Jou can right click over the column header area to display a list of available
columns for that window, any of which you can choose to display or hide, as
you wish.
Jou can also drag and drop column headers left or right to change the order
in which the columns are displayed.
The conte/t column header menu also has a Reset option which will restore
its default layout.
;.@.< Sort Cte(s by 3olu(ns
Jou can click once on any column header to sort the list according to that column. For e/ample, click on Time
to sort them in time order, or on Type to sort all markers together, then all regions. )ncidentally, the time
format used will be the same as whatever you set for the ruler.
;.@.> Heyboar& Shortcuts
<ome of the <@< windows have more keyboard shortcuts than others. These always work when the window
has focus and at least one item in the list is selected$
2own Arrow 0e/t row 2elete Delete current selection
*! Arrow Previous row Esca!e Close window
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;.= -ar,er -ana'e(ent 3usto( Actions an& -acros
Custom actions are by definition 1ust that U customi7ed8 Different people will have different needs. The
e/amples shown here aren6t necessarily intended to serve as models$ some people may find these e/amples
useful, others will not. Their main purpose is to help to get you thinking about how you could string together
into custom actions 9macros= those seAuences of commands that would be useful to you.
Re'ion 3reatin' -acro
)f you6re likely to be making good use of regions in your pro1ects then a custom macro like this might help$
Time selection$ copy loop points to time selection
Larkers$ )nsert region from time selection
<@<$ %enumber region )Ds
Larkers$ &dit region near cursor
Poop points$ %emove loop point selection
Time selection$ %emove time selection
fter assigning this macro to a keyboard shortcut, toolbar or menu, you can then simply double click between
the two markers then run the macro to create the region. %egions will if necessary be automatically renumbered
9from left to right=. Jou will be prompted for a region name, after which the time selection and loop points will
be removed.
3o!y%Paste -ar,er Set -acro
)f you are going to working with pro1ect file lists, especially those which contain multiple different versions of
the same pro1ect, then some macro such as this 9modified to suit your own needs if necessary= could be useful$
<@<$ Copy marker set to clipboard
0e/t pro1ect tab
<@<$ Paste marker set from clipboard
<@<$ <ave marker set
File <ave pro1ect.
This macro will copy and paste the current marker set into the pro1ect in the ne/t pro1ect tab, then prompt you
for a name and save it as a markers et in that file.
Don6t forget the File Sa4e Pro7ect at the end8 Larker sets are saved inside the pro1ect .%PP file. )f you
forget to save the pro1ect file, you lose the marker sets.
EE
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? B SWS 3olor -ana'e(ent
? SWS 3olor -ana'e(ent
?.1 The SWS 3olor -ana'e(ent Syste(
The color utilities included in the <@< e/tension set allow easier setting of track and item colors. Jou can even
create and apply your own color sets for use with both tracks and media items, either individually or as group
selections. The <@< Color Lanagement system is by default available directly by using the SWS Trac, 3olor
commands which can be found on$
The Trac, 3ontrol Panel conte/t menu 9accessed also from the -ixer View=, and
The Cte( Settin's sub menu of the -e&ia Cte(s conte/t menu.
Jou can, of course also add any of the commands and actions to one of your toolbars or other menus, or assign
them keyboard shortcuts. Jou can also edit either of the two menus referred to above, for e/ample to move
any of the <@< commands higher up the list if you wish. n e/ample of this is shown below, where the <@<
Track Color commands have been promoted to the top level of the Ledia )tems conte/t menu. To do this, you
simply need to open the 3usto(i/e -enus%Toolbars window, select the reAuired item 9in this case, Ledia
)tem Conte/t=, then drag and drop SWS Cte( 3olor PX up the list.
0otice that in the e/ample shown here, two of the <@< actions from the ction Pist have also been added to
this menu ? SWS$ Set selecte& ite(8s9 to color white and SWS$ Set selecte& ite(8s9 to color blac,.
Kote$ :ne limitation at present of the :<2 version of the <@< Color Lanagement system is that the actual
colors themselves do not show up ne/t to the H<et to custom color nI commands on the above menu. The
commands are instead listed without their colors being displayed.
E,
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REAPER Plus! The Power of SWS Extensions 84 1..19
?." SWS 3olor -ana'e(ent 3o((an& Su((ary
The table below offers a summary of the main <@< Track and )tem Color commands, together with a brief
e/planation. <ome of these might be a little difficult to understand at first. Don6t worry, all should become more
clear after you have worked thru the tutorials.
3o((an& Ex!lanation
Set to one ran&o( custo( color 0
%&P&%6s native commands Set Trac,%Cte( 3olor to )ne
Ran&o( 3olor selects one color from the literally millions
available and applies it to the selected track9s= or item9s=. The
problem here is that you might not like the color it selects.
The <@< eAuivalent command varies in one important respect. )t
will always choose one of a set of #E colors that you have
previously defined. Jou6ll learn how to create and save color sets
shortly.
Set to ran&o( custo( color 0
%&P&%6s native commands Set Trac,%Cte( 3olor to Ran&o(
3olors selects for each track or item in the selection one of the
literally millions of different colors available. The problem here is
that you might not like some of the color it selects.
The <@< eAuivalent command varies in one important respect. )t
will always choose its colors from a set of #E colors that you have
previously defined. Jou6ll learn how to create and save these color
sets shortly.
Set to color 'ra&ient
This ingenious command defies description other than in the
conte/t of an actual e/ample 9which we6ll get to shortly=. Two
colors that you have previously selected are applied to the first
and last items or tracks in the selection. For the items or tracks in
between these two, the colors are gradually morphed from the
first color to the last in a series of steps.
Set to or&ere& custo( colors
<ets the color for each item or track in the current section in
seAuence to one of the #E colors in your current color set.
Set to or&ere& custo( colors !er
trac,
This command can be applied only to to media items, and when
the selected media items are spread across two or more tracks. )t
sets the color for each item in the selection seAuentially to one of
the #E colors in your current color set, starting with color # for the
first item on each track.
Set chil&ren to sa(e color
This command is on the TCP conte/t menu but not the media
item conte/t menu. )f you apply this command with a folder
selected then the child tracks in that folder will be set to the
same color as the folder.
Set to custo( color R1 thru 1?S
<ets the selected track9s= or media item9s= to one of the #E colors
in the current color set.
3olor (ana'e(ent 0
:pens the <@< Color Lanagement interface, used for creating
and managing color sets and color gradients.
E.
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? B SWS 3olor -ana'e(ent
?.< A4ailable 3olor -ana'e(ent Actions
Please refer to the final chapter of this 5ser Buide, Su((ary of SWS an& SWS%Aena,ios -o&ules an&
Actions for a list of assignable actions in this category.
Pre!aration
Kefore e/ploring the <@< color management features we are going to modify one of our e/isting pro1ect files to
make it ready for this purpose.
#. :pen the file StayWith-e;>.RPP and immediately save it as StayWith-e?<.RPP
!. Click on any track in the Track Control Panel, then press 3trlJA to select all tracks.
+. %ight click over any track number in the TCP and choose Set Trac, 3olor to 2efault. This will
remove the e/isting track colors.
-. <ave the file.
?.> 3olor Gra&ients
To use the <@< color gradient feature, you should follow this process$
Choose the 3olor -ana'e(ent... command from the <@< Track Color or )tem Color menu.
Define the gradient start and end colors.
Close the Color Lanagement window.
<elect the reAuired range of tracks or items.
Choose the Set to 3olor Gra&ient command from the appropriate <@< Color menu.
)f you have previously defined the color gradient start and end colors then you can omit the first three steps.
<hown above is the @indows color picker. The :<2 eAuivalent is laid out differently, but it provides essentially
the same functionality.
ED
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REAPER Plus! The Power of SWS Extensions 84 1..19
Tutorial
#. @ith the file StayWith-e?<.RPP open, right click over any track number in the TCP or LCP and
choose the command SWS Trac, 3olor, 3olor -ana'e(ent.
!. @hen the Color Lanagement
window appears, click on the
first of the two colors shown to
open the standard windows
Color window 9see illustration
above= to set the gradient start
color.
+. 5se the normal method for
selecting a color. First click on
the reAuired position in the large
color palette window, then on
the reAuired position on the
vertical bar to the right 9see
position of mouse pointer=, then
on )H.
-. %epeat steps !. and +. for the
second of the two colors shown
to select the gradient stop color.
C. Close the <@< Color
Lanagement window.
E. @ith the TCP or LCP selected,
press 3trlJA to select all tracks.
,. %ight click over any track
number and choose SWS Trac,
3olor then Set to 3olor
Gra&ient.
.. &ach track will now be
individually colored as shown on
the right. The changes in color
from track to track together
make up a transition from your
gradient start color to your
gradient stop color.
<hown below is an e/ample of how this
effect could be applied to a series of
media items$
Kote$ )f your screen display does not show color tinting on the track control panel and'or media items similar
to that shown above this might be because of your %&P&% Preferences <ettings ? see <ection E.,.
,"
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? B SWS 3olor -ana'e(ent
?.; SWS 3olor Sets
The screen shot at the very beginning of this chapter includes a menu which displays a selection of #E custom
colors. )n this section you will learn how to create and use your own color sets. n <@< color set is created
using the normal @indows Colors window that you used in the previous tutorial. :nce you have done this, you
simply save it as an <@< Color <et. ;eep in mind the following tips$
Jou can create as many different color sets as you like. Towever, only one set can be displayed on the
<@< Color menus at one time.
Jou would normally store your color sets directly in your %&P&% Color Themes directory or folder.
Towever ...
U you can associate any color set with any particular theme by saving that color set into its e/isting
.%eaperTheme file 9something like LyColors.%eaperTheme=. )f you do this, you can load the color set
whenever that theme is active by choosing :oa& 3olors fro( 3urrent The(e from the <@< Color
Lanagement window.
Tutorial
)n this e/ercise, you will be shown how to create and save a number of different color sets and then select any
of them for use. )t is assumed that the pro1ect StayWith-e?<.RPP is still open.
#. Display the SWS 3olor -ana'e(ent Win&ow.
!. Click on <et 3usto( 3olors... to open the @indows 3olor window.
+. 0otice that there are #E small bo/es reserved for custom colors. Click on the first of these to select it.
5se the color palette and the vertical bar 9as in the previous tutorial= to select your preferred color.
Click on the A&& to 3usto( 3olors button.
-. Click on the ne/t of the custom color bo/es to select it. %epeat the necessary steps to select your ne/t
custom color then click the A&& to 3usto( 3olors button.
C. %epeat this process until you have defined all #E custom colors 9see below=.
E. Click on )H to close the Color window, then on Sa4e 3olor Set to File...
,#
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REAPER Plus! The Power of SWS Extensions 84 1..19
,. 0avigate to your %&P&% Color Themes directory, then type a name 9for e/ample, %ainbow Colors=,
then click on Sa4e.
.. Close the <@< Color Lanagement window and display the SWS Trac, 3olor menu. Jou will see that
your color set has now been used to fill the #E color options.
D. ccess the SWS 3olor -ana'e(ent window again, and again choose Set 3usto( 3olors. For the
sake of this e/ample, define a set of #E colors all of which fall within the green to blue area of the color
palette,
#". @hen finished, close the @indows Color window and save this color set to a file. Call it something like
Breen Klue. Close the <@< Color Lanagement window.
##. Display the <@< Track Color menu. Jour Breen Klue color definitions are now being used to fill the #E
color options.
#!. t any time you can revisit the <@< Color Lanagement window and use :oa& 3olor Set fro( File to
retrieve and restore your earlier color set, the one named %ainbow Colors.
?.? SWS 3olor 3o((an&s
)t is difficult to see how the <@< color commands listed in <ection E.! can individually reAuire much more
e/planation. For the most part their purposes are self3e/planatory. Towever, as is so often the case, the key to
getting the best out of these commands and actions is to be found in understanding how they can be made to
work together.
There really wouldn6t be much benefit in taking you thru a tutorial which selects one track and sets it custom
color #, then another track to custom color !, and so on. That would be far too obvious. )nstead, let6s try
something much more interesting.
Tutorial
)n earlier e/ercises we6ve already looked at tracks and track management. 0ot surprisingly, we are returning to
this sub1ect here. :rganising your tracks efficiently and effectively will lay for you the foundation stones of
happy pro1ect management and mi/ing. To
illustrate this point, we6re going to make some
slight changes to the way our sample pro1ect file is
organised.
#. )f it is not already open, open the file
StayWith-e?<.RPP. <ave it as
StayWith-e??.RPP
!. @e are going to make some slight
changes to this file6s structure so that all
tracks are contained within folders. Jou6ll
see why shortly.
+. First, with the TCP or LCP selected, press
3trlJA to select all tracks, then right click
over any track number and choose Set
Trac, 3olor to 2efault. This gives you a
clean slate with which to work.
-. )mmediately above your Tarmonica track,
create a new track and call it :thers.
Lake this a track folder with 1ust the
Tarmonica track as its only child.
,!
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? B SWS 3olor -ana'e(ent
C. )mmediately above the first of your reverb tracks, create another new track and call this %everbs. Lake
this a folder, and ensure that both your reverb tracks are contained within this folder. <ave the file.
E. The file structure should now resemble
that shown above 9previous page=.
,. Lanually select all four folders 9and only
the folders=. Jou can do this by holding
3trl as you click on each in turn.
.. %ight click over any of the folder names,
then choose SWS Trac, 3olor then Set
to )r&ere& 3usto( 3olors. &very
folder will be set to a different color.
D. ;eeping the folders selected, right click
over any of their names again to again
display the conte/t menu.
#". This time, choose SWS Trac, 3olor then
Set 3hil&ren to Sa(e to Sa(e 3olor.
&very child track will now be set to the
same color as its parent folder 9as shown
on the right=.
##. <ave the file. Do not yet close it.
Kote 1$ )n this e/ample you have worked one step at a time thru the commands reAuired to produce this
particular color effect. This is a perfect e/ample where creating a custom action macro can be a real time saver.
sample macro for this purpose is included in section E.D.
Kote "$ This tutorial has demonstrated only one e/ample of how the <@< color management commands and
actions can help you when you are pro1ect building. )f you like it, use it. lternatively, work out a system that
suits you better and use that8
Tutorial
This ne/t tutorial will achieve the modest but often useful task of recoloring media items so that their color
matches their TCP track panel. )t uses the action SWS$ Set selecte& ite(8s9 to res!ecti4e trac, color.
Pet6s assume that this action has been added to the media item conte/t menu or assigned a keyboard shortcut.
#. <till using StayWith-e??.RPP, select any two media items and use the conte/t menu to set them to
random custom colors. Pet6s suppose that later we want to make them the same as their respective
track colors.
!. ;eep these items selected. 5sing whichever method you prefer, run the action SWS$ Set selecte&
ite(8s9 to res!ecti4e trac, color. )f this command has not been assigned to any toolbar, menu or
keyboard shortcut, you can run it directly from inside the ctions window.
+. <ave the file.
Kote$ The value of this action becomes more evident if you use color coding with your media items when you
are building your pro1ect file, but then wish to clean up your cluttered colors when you move on to the mi/ing
phase of your pro1ect.
)f you find yourself making use of this command, consider using it in a macro. n e/ample macro is provided in
<ection E.D.
,+
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REAPER Plus! The Power of SWS Extensions 84 1..19
?. REAPERQs 3olor Tintin' Preferences
Color Lanagement is definitely an area where it pays to know your %&P&% Preferences and how to use them.
There are not that many preference settings which impact on how your tracks and media items are colored, but
those that are there can be Auite dramatic in their impact.
5nder the
A!!earance page of
preferences settings
you have two specific
Track Control Panel
coloring options.
These are$
Tint trac, !anel
bac,'roun&s. )f
enabled, this causes
the entire panel in the
TCP and LCP to be
colored with whatever
color is selected for
that track. n e/ample
is shown on the right.
Set trac, label
bac,'roun& to
custo( trac, colors.
This option is enabled
by default. )t6s effect
can be seen in the
earlier screen shots
used in this section 9for
e/ample, in <ection
E.-=. )t causes the area
behind the track name
to be shaded with the
selected track color.
,-
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? B SWS 3olor -ana'e(ent
The other main color settings appear on the A!!earance1 -e&ia page and are as follows.
Preference )!tion Ex!lanation
Tint (e&ia ite( !ea,s to custo(
trac, colors
Tint ite( bac,'roun& to custo(
colors
These two options allow you to choose whether and how to apply
by default custom track colors to the media items contained in
that track. Jou can choose between their peaks 9waveforms=, or
their backgrounds, or both, or neither.
Tint (e&ia ite( !ea,s to custo(
ite( colors
Tint (e&ia ite( bac,'roun& to
custo( ite( colors
These two options allow you to choose whether and how to apply
custom item colors to your selected media items. Jou can choose
between their peaks 9waveforms=, or their backgrounds, or both,
or neither.
)f all four of these options are enabled 9as shown above= then
where there is any conflict the custom item colors will take
precedence.
Tint ite( bac,'roun&s e4en when
selecte&.
)f this option is disabled, any selected media item9s= will follow
the default media item color as defined in the current theme for
as long as they are selected, reverting to any custom color when
they are unselected.
,C
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REAPER Plus! The Power of SWS Extensions 84 1..19
?.@ SWS Auto 3olor
feature recently introduced into the <@< e/tension pack is the SWS Auto 3olor window. This can be used to
ensure that your tracks are automatically color coded according to their track names. For e/ample, you might
specify that you want all Vo/ tracks to be, say, red, all Buitar tracks green, and so on. Jou can have your rules
applied to new tracks in new pro1ects as they are created, or you can apply them retrospectively to tracks in
e/isting pro1ects. The uto Color feature is easy to use.
The procedures are as follows$
:pen the uto Color window 9View1 SWS
Auto 3olor=
5se the A&& button to add as many color
filters as you want.
0ame each filter and define it6s color.
5se the A!!ly button to apply your color
filters to the tracks in the current pro1ect file.
&nable the option Enable Auto 3olorin' if
you want your color filters to be automatically
applied to other pro1ect files as they are
created, opened or modified.
)n this ne/t tutorial you will learn how to use auto
coloring at its simplest.
Tutorial
#. :pen the file StayWith-e.RPP and save it as StayWith-e?@.
!. For the purpose of this e/ample, select all
tracks, then right click over any track name to
display the conte/t menu.
+. Choose the Set Trac, 3olor to 2efault
command. This gives us a starting point.
-. Click on the A&& button to add a filter. Double
click on the te/t 8na(e9, and type Vo.
C. Click on the small color bo/ 9see position of
mouse cursor, right= to open the color selector
window. <elect a color and click )H.
E. dd another filter and name it Guit. <elect a
color of your choice for this filter.
,. Click on Force or pply 9depending on which
button is displayed=. The colors will
automatically be applied to your tracks.
.. Tick the bo/ labelled Enable Auto 3olorin'.
D. Close the uto Color window, then save and close the file.
#". :pen any of your other pro1ect files whose track names include HVoI and HBuitI. These tracks will now
be automatically colored according to your color filter definitions.
##. For the sake of the e/ercise, add an e/tra track to this file and name it Hnother VocalI. )t will be
automatically colored for you.
,E
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? B SWS 3olor -ana'e(ent
?.@.1 Auto 3olor Filter 3o&es
<pecial codes can be used to ensure that different
kinds of tracks are automatically color coded. Jou
can either pull these down from the list on the
conte/t menu 9see right= or type the codes in
yourself.
)n the e/ample shown here 9right=, we have specified
that folders are automatically to be colored blue.
The available filter codes are as follows. Their
meaning should be mostly self3e/planatory.
8unna(e&9 ? unnamed tracks
8fol&er9 ? folder tracks
8chil&ren9 ? tracks contained within a folder
8recei4e9 ? tracks with receives 9incl busses=
8any9 ? any track not covered by another filter
8(aster9 ? colors the master track
To apply any of these codes you need to right3click over an item in the Filter column of the uto Color window
and then select the code that you reAuire from the conte/t menu.
?.@." Resol4in' 3olor 3onflict
Jou might have noticed that one problem with using a color coding system such as this is that conflict and
ambiguity can arise. For e/ample, what if we have a folder track whose name includes the characters HVoI( )s it
to be colored red 9as specified by the Vo filter= or blue 9as specified by the 9folder= filter(
)n order to resolve such conflict, we need to establish a system of priorities. This is how it works$
Ky default, priority is allocated to the different filters in the order in which they are entered. For
e/ample, in this case our Vocals folder would be assigned the designated color for the test string HVoI,
not that designated for folders.
Jou can change the priorities using the
conte/t menu commands *! in Priority
and 2own in Priority. <imply right click
over any filter name and choose whichever
of these commands you want.
)n the e/ample shown here, our 9folder= rule
has been moved up the list to become the
top priority. This ensures that all folders will
be assigned its designated color, regardless
of their names or any other consideration. )n
this e/ample 9right=, a folder labelled
Vocals would take the designated folder
color, not the designated Vo te/t color.
That said, you can still change the color of
any track in your pro1ect manually, using the
TCP or LCP conte/t menu. Towever, clicking
the Force button in the uto Color window
will again cause the auto color rule to be applied.
,,
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REAPER Plus! The Power of SWS Extensions 84 1..19
?.@.< Auto 3olor 3olor 3o&es
s well as being able to choose your track and
folder colors using the @indows color palette,
you have a number of other options available
to you from the conte/t menu that is displayed
when you right click in the Color column over
any filter item 9see right=.
The available codes and their meaning are
summari7ed in the table below.
Kote$
Jour autocolor definitions and settings are
stored in the reaper.ini file.
3olor 3o&e Ex!lanation
3usto(
This causes one of your set of previously defined custom colors to
be applied to the filter.
The custom colors are applied in seAuence. For e/ample if you
select the custom item to be applied to a te/t filter HBuI and you
have three tracks which meet this criteria, then the first of these
will be assigned custom color #, the second custom color ! and
the third custom color +.
Gra&ient
This causes all tracks defined by this filter to be colored on a
sliding scale using your color gradient definitions, as specified in
the Color Lanagement window.
Ran&o(
Tracks which meet the criteria for this filter are colored at
random.
Kone
0o color is applied to tracks meeting the criteria for this filter.
Parent
Tracks which meet this criteria and are contained within a folder
will take the same color as the parent 9folder= track.
?.@.> SWS Auto 3olor Actions
The following actions are available and can be bound to shortcut keys or assigned to a menu or toolbar.
<@<$ pply auto coloring
<@<$ Toggle auto coloring
<@<$ :pen auto color window
Kote$ <@< uto Coloring can also be toggled on and off using the )!tions1 Enable SWS Auto 3olorin'
from the main %&P&% menu.
,.
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? B SWS 3olor -ana'e(ent
?.= 3olor -ana'e(ent 3usto( Actions
The e/amples of color management custom action macros that follow all stem from one or more of the
e/amples used in the tutorials in this section. <tudy them, create them and try them out. )f you then don6t feel
you have any need for them, you can later delete them. The important thing is that you will have developed
more e/perience and understanding in this area. This will help you to identify those tasks for which you would
find custom actions helpful, and give you the confidence to go on to create them.
3olor Fol&ers an& Trac,s -acros
This first macro will have the same effect as working thru the tutorial in <ection E.E. )t will assign a different
track to each folder, then color all child tracks with the same color as their parent folder.
<@<$ <elect all folders 9parents only=
<@<$ <et selected track9s= to ordered custom colors
<@<$ <et selected track9s= children to same color
Track$ 5nselect all tracks
This variation of the first macro works in a similar way,e/cept that for each folder it will make a random 9rather
than seAuential= selection from the current #E color set. The child tracks will then be set to the same color as
their parent folders.
<@<$ <elect all folders 9parents only=
<@<$ <et selected track9s= to random custom colors
<@<$ <et selected track9s= children to same color
Track$ 5nselect all tracks
)f you wish, you could add these two actions to either or both of these macros as follows ? the first at the very
beginning, the second at the very end$
<@<$ <ave current track selection
U.
<@<$ %estore saved track selection
This would have the effect of ensuring that any track or tracks that were selected at the time the macro was
e/ecuted would be reselected after the colors had been applied.
-atch Cte( 3olors to Trac, 3olors -acros
This macro replicates the last e/ample used in <ection E.E. )t will change the colors of all media items to ensure
that they are synchronised with their respective track colors in the TCP and LCP. )t will do so without losing any
current item selection.
<@<$ <ave selected item9s=
)tem$ <elect all items
<@<$ <et selected item9s= to respective track color
<@<$ %estore saved selected item9s=
,D
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REAPER Plus! The Power of SWS Extensions 84 1..19
?.1# The E4il2ra'on 3olor Toolbar
Finally 9for this chapter=, here6s a pleasant surprise for you.
&vilDragon 9of the %&P&% forum= in collaboration with fellow forumite carbon has created a clever and useful
Colors Toolbar which can be easily used to apply custom colors to tracks, items and selections, to get one click
access to the <@< Color Lanagement window, and much more$
Jou can download the various components that make up this toolbar and obtain full instructions regarding its
installation and use from one of these 5%Ps. The te/t may be case sensitive, so be careful if typing. )f you find
that you have a problem with either one then try the other$
http$''www.cockos.com'wiki'inde/.php'&vilDragon6sFColorFToolbarFv!.#a
http$''tinyurl.com'ykD.7o7
)f neither of these links is successful you should check the %&P&% forum. good place to start looking would
be in &vilDragon6s signature.
Ti!$ Don6t forget that after downloading and installing the &vilDragon Color Toolbar you can add additional
items to it, such as any of the macros suggested in <ection E..., or any custom actions and macros of your
own.
."
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B SWS Trac,list an& Trac, -ana'e(ent
SWS Trac,list an& Trac, -ana'e(ent
%&P&%6s native track management features are both handy and easy to use, but they do have their limitations.
For e/ample$
Jou can choose to hide individual tracks or selections of tracks in the TCP or the LCP, but not both.
The Filter Tracks window can be
used to select which tracks are to
be shown or hidden by part or all
of their track name. Towever, as
long as this window is open it
keeps focus 9see right=. This
makes it impossible to work on
your arrangement while this
window remains open.
%&P&%6s Track View screen sets
do not include the current
hide'show status of your tracks.
This issue causes a fair amount of
confusion, but in short the reason for this is because track view screen sets were never intended to
include this function8
The <@< Tracklist manager has been designed to address these and 9as you will shortly see= several other
issues. )ts window is displayed below. )t can be opened by choosing View1 SWS Trac,list from the %&P&%
main menu. Jou can of course assign a keyboard shortcut to this command if you wish.
This window, like most others, can be docked if you wish it to be. Jou simply right click over the window and
choose 2oc, Trac,list in 2oc,er from the conte/t menu. @hen docked, you can access this menu by right
clicking over the docked tab.
The SWS Trac,list manager also works closely with the SWS Sna!shots manager to make a very powerful
team. @e6ll get to this in Chapter ..
.#
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REAPER Plus! The Power of SWS Extensions 84 1..19
.1 SWS Trac,list 3o((an&s an& )!tions
The table below offers a summary of the main <@< Tracklist commands and options, together with a brief
e/planation of each. <hortly you6ll have the opportunity to work thru a tutorial which will show you how they are
used.
3o((an& % )!tion Ex!lanation
The SWS Trac,list Win&ow an& its )!tions
The -ain Win&ow This consists of four columns ? Track 0umber, Track name, TCP
and LCP. Jou can for e/ample$
5se this window to select any track9s= in the same way as in
the TCP and LCP ? click to select, control click to add to
selection, etc.
Double click on any track name to edit or rename it.
<elect any track name9s= and use the Delete key to delete it.
5se the TCP and LCP columns to show'hide any track9s= in the
TCP and'or LCP
Filter .ox &nter part or all of a track name to specify a track view filter. For
e/ample, HvoI would select all tracks that include Vo/ or Vocal in
their track name.
Li&e Filtere& Trac,s @hen enabled, this toggle causes all tracks not selected by the
filter te/t to be hidden from view. @hen disabled, these tracks are
still visible.
3lear Clears the current filter.
:in, T3P an& -3P Vis Pinks TCP and LCP buttons together.
The SWS Trac,list 3ontext -enu 3o((an&s
Sna!shot 3urrent Visibility Lakes a snapshot of the current track visibility settings.
Show All Trac,s Causes all tracks to be displayed.
Show SWS Sna!shots :pens the <@< <napshots window.
Rena(e &nables you to rename the item underneath the mouse cursor.
Show )nly in -3P <hows current track selection in LCP only.
Show )nly in T3P <hows current track selection in TCP only.
Show in .oth -3P an& T3P <hows current track selection in both LCP and TCP.
Li&e in .oth -3P an& T3P Tides current track selection in both LCP and TCP.
Cn4ert selection 5nselects all tracks currently selected$ selects all tracks currently
not selected.
Li&e *nselecte& Tides all unselected tracks.
2oc, Trac, :ist in 2oc,er Toggles the docked status of the Tracklist window.
.!
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B SWS Trac,list an& Trac, -ana'e(ent
." SWS Trac,list 3olu(n -ana'e(ent
)f you6re starting to think that there6s more to the <@< Tracklist then meets
the eye then you6d not be wrong. For e/ample, the column header area has
a few surprises in its conte/t menu.
)n addition to the default columns shown, you can also display any or all of
the following columns$
rm
Lute
<olo
@hen these columns are displayed, you are able to record arm, mute or solo
any track or any track selection from within the <@< Tracklist window.
Jou can also sort the track list display using any column as your sort key.
Click once on any column header for an ascending sort, click again for a reverse sort.
For e/ample, click once on the 0ame header to sort
your track list 9but not the tracks themselves8= in
alphabetical order from to S. Click again to reverse
this sort order.
Jou can also drag and drop the column headers left or
right to change the order in which they appear.
)n the e/ample shown 9right=, the <olo and Lute
columns have been displayed, and the tracklist has
been sorted alphabetically by track name.
.< SWS Trac,list Actions
summary list of those <@< actions most closely
associated with track list management and track
visibility is included in Chapter #! of this 5ser Buide. )t
is well worth considering using keyboard shortcuts
and'or menu assignments for those that you find most
useful.
)n the e/ample shown here, The option to Show SWS Trac,list has been added to the TCP conte/t menu, as
has a sub3menu Show%Li&e Trac,s. <everal commands and actions have been appended to this sub3menu.
.+
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REAPER Plus! The Power of SWS Extensions 84 1..19
.> Wor,in' With the SWS Trac,list Win&ow
For this first e/ample, consider the kind of situation which is shown above, especially when your pro1ect has a
fair number of tracks, more than in the sample pro1ect that accompanies this user guide.
Kotice the floatin' toolbar in the abo4e screen shot.
)t may not be obvious from the resolution of the graphic image, but a toolbar named Moo(%E&it has been
selected 9you could of course name it anything you wish=. The following actions have been included in this
toolbar. These actions add considerably to to functionality of the Tracklist window$
<@<$ <how selected track9s= in LCP, hide others
<@<$ <how selected track9s= in TCP, hide others
<@<$ <how all tracks in LCP
<@<$ <how all tracks in TCP
Kefore proceeding on to the tutorial, you are strongly recommended to add icons for each of these four
actions to one of your floating toolbars, or to the main %&P&% toolbar. To do this you will need to open
the 3usto(i/e -enus%Toolbars window 9from the )!tions menu=, and then select the reAuired
toolbar from the drop down list. To add your actions, click on the A&& button, then select each reAuired
action in turn and click on Select. Close the ctions window when finished, then Sa4e and 3lose the
Customi7e Lenus'Toolbars window. <ee the %&P&% 5ser Buide for more information, options, etc.
.-
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B SWS Trac,list an& Trac, -ana'e(ent
Tutorial
This tutorial will work best for you if you have added to one of your floating toolbars the four actions suggested
on the previous page, as well as the two actions suggested in <ection !.C.#$
2enakios'<@<$ <et <elected Tracks Teight to
2enakios'<@<$ <et <elected Tracks Teight to K
#. :pen the file StayWith-e??.RPP and save it as StayWith-e>.RPP.
!. Pay your screen out in a similar fashion to that shown above. Jou have access to both the TCP and
LCP at the same time, but navigating either of these to get to individual tracks might be rather tricky.
+. <elect the SWS Trac,list window. %ight click over the column header area and select both -ute and
Solo to ensure that these columns are displayed.
-. Play the song. s you do so e/periment with the solo and'or mute controls to discover 1ust how much
fingertip control this window gives you. For e/ample, you could try the following 9one at a time=$
<olo Buitars
5nsolo Buitars, <olo Vocals,
5nsolo Vocals, <olo %everbs
lternately mute'unmute %everbs
Lute Vocals
C. Don6t limit your Lute'<olo e/ploration to 1ust those few suggested e/amples. The more you try it out,
the more you will reali7e how useful this capability is.
E. Pet6s now suppose that we wish to work specifically with the Buitar tracks for a while. )n the Filter bo/,
type 'ui
,. &nable the options Li&e Filtere& Trac,s and :in, T3P an& -3P Vis 9for visibility=. &/periment with
toggling the Tide Filtered Tracks option on and off. 0otice how disabling it brings your other tracks
back into view but the Filter bo/ remembers what you last typed there.
.. Click on the 3lear button 9in the <@< Tracklist window= to clear the filter.
D. 0ow click in the <@< Tracklist window on the
label Vocals, then hold Shift while you click on
Vox -at. Click against any of these items on
the black dot to its immediate right in the TCP
column. These five tracks are now hidden from
both the TCP and the LCP.
#". Disable the option :in, T3P an& -3P Vis.
@ith the same five tracks still selected in the
Tracklist window, click in the LCP column for
any one of them. These five tracks will now be
restored to the Li/er view but not to the Track
9rrangement= view.
##. Click in the TCP column for any of the selected
tracks. They will be restored to the Track view.
#!. %ight click over this track selection and from the
conte/t menu choose Li&e *nselecte& 9see
right=.
.C
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REAPER Plus! The Power of SWS Extensions 84 1..19
#+. 0ow only the five selected tracks are visible in both the rrangement View and the Li/erView.
#-. )f you have this button on your floating toolbar, click on
Set Selecte& Trac,s Lei'ht to A. 0otice the track
height is increased.
#C. )f you have this button on your floating toolbar, click on
Show all trac,s in -3P. ll tracks will be restored to
view in the Li/er.
#E. 0ow press the N key once or twice to restore the track
heights to normal.
#,. )f you have this button on your floating toolbar, click on
Show all trac,s in T3P. ll tracks will be restored to
view in the rrangement View.
#.. <ave the file.
#D. 0ow, with your five Vocal tracks still selected, right click
in the <@< Tracklist window over this selection and
choose Cn4ert Selection. %ight click again and choose
Li&e *nselecte& 9see above right=. 0ow all tracks e/cept the vocals are shown 9see below=.
!". %ight click over the Tracklist window and choose Show All Trac,s. ll tracks are now restored to both
views.
!#. <ave this file.
!!. Continue to e/plore and e/periment with the many fle/ible track display and management options that
the <@< Tracklist puts at your disposal. Do not yet use either the Sna!shot 3urrent Trac,
Visibility or Show SWS Sna!shots options$ we will come to both of these shortly.
!+. @hen you are finished, use the Show All command in the conte/t menu to restore all tracks to view
9unsoloed and unmuted= in both the TCP and the LCP.
!-. <ave the file.

.E
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B SWS Trac,list an& Trac, -ana'e(ent
.; SWS Trac,list Heyboar& Shortcuts
There6s a number of useful keyboard shortcuts that you can use when working inside the Tracklist window.
These are summari7ed below$
Heyboar& Shortcut Action
2own Arrow
<elect only ne/t track
Shift J 2own Arrow
dd ne/t track to current track selection
*! Arrow
<elect only previous track
Shift J *! Arrow
dd previous track to current track selection
:eft Arrow
Toggle show'hide selected track9s= in LCP
Ri'ht Arrow
Toggle show'hide selected track9s= in TCP
3trl J Alt
Told these keys while left clicking on a TCP or LCP dot within the
current track selection to hide all tracks not in that track selection.
Shift
Told while clicking on TCP or LCP dot for any track over3ride Pink TCP
and LCP option when enabled.
Esc
Closes the <@< Tracklist window 9if not docked=.
.? Trac, Visibility Sna!shots
Track visibility snapshots can be used to store and recall different combinations of track displays, both in the
TCP and the LCP. )n this section, you will learn how to$
Create track visibility snapshots
%ecall track visibility snapshots
)n doing this, you will be introduced to the Sna!shot 3urrent Trac, Visibility, Recall Sna!shot, and Show
SWS Sna!shots commands.
Tutorial
#. :pen the file StayWith-e>.RPP if it is not already open. Kefore proceeding any further we need to
set an important option. Choose the View1 SWS Sna!shots command to open the <napshots
window. Lake sure the Pro(!t for Ka(e option is enabled. Close the <napshots window$ we6ll be
returning to look at it again shortly.
!. 0ow make sure the SWS Trac,list window is open and has focus. Lake sure that :in, T3P an&
-3P Vis is selected.
+. 5se whichever method you prefer to select the Buitars folder and its four child tracks.
-. Told 3trl J Alt while you click on any TCP or LCP dot in this selection. ll tracks e/cept Buitar tracks
will now be hidden in the TCP and LCP
C. %ight click anywhere within the selection to display the Tracklist conte/t menu.
.,
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REAPER Plus! The Power of SWS Extensions 84 1..19
E. Choose Sna!shot 3urrent Trac, Visibility. @hen
prompted for a snapshot name, type, Buitars :nly and press
Enter 9see right=.
,. %ight click over the <@< Tracklist window area and choose
Show All. ll tracks are now restored to view.
.. <till in the Tracklist window, select the Vocals folder and its
four child tracks. Told 3trlJAlt while clicking on any LCP or
TCP dot in this selection. :nly vocal tracks will now be displayed.
D. %ight3click again over the selection and choose Sna!shot 3urrent Trac, Visibility. @hen prompted,
type Vocals :nly and press Enter.
#". %ight click in the Tracklist window area and choose Show All. ll tracks are now restored to view.
##. Disable the option :in, T3P an& -3P Vis.
#!. <till in the Tracklist @indow, select the Re4erb folder and its two tracks. Told 3trlJAlt while you click
on any TCP dot in the selection. These should now be the only tracks visible in the TCP, but all tracks
should still be displayed in the LCP.
#+. %ight3click again over the selection and choose Sna!shot 3urrent Trac, Visibility. @hen prompted,
type %everb and press Enter.
#-. %estore all tracks to view. %ight3click over any
track name and choose Sna!shot 3urrent
Trac, Visibility. @hen prompted, type ll
Tracks and press Enter.
#C. Jou can now use the <@< Tracklist right click
menu to switch Auickly and easily between
viewing your different snapshots 9see right=
#E. Pet6s dig a bit deeper and see what6s really
been going on here8
#,. %ight3click over the <@<
Tracklist window and
choose Show SWS
Sna!shots from the
conte/t menu.
#.. The Sna!shots window
9shown right= will be
displayed.
#D. Bo easy here8 The <@<
<napshots module is
e/traordinarily powerful
and needs to be
approached methodically.
@e6ll do this in Chapter ..
For this tutorial, please
keep on track and stick
to visibility snapshots
only.
!". Click once on any
snapshot name to select
it, thereby changing your track display. @hen you have finished e/perimenting, save the file.
..
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B SWS Trac,list an& Trac, -ana'e(ent
. REAPER Trac, View Screen Sets
)t is easy to get confused as to how the
<@< Tracklist manager with its Track
Visibility <napshots and %&P&% itself with
its own native Track View <creen <ets work
together. n e/ample of a %&P&% Track
View <creen <ets window is shown on the
right.
t first sight, the behavior of each of these
two features can sometimes appear to be in
conflict with the other. To a large e/tent
this is because of the different ways in
which they handle the management and
display of your pro1ects6 tracks. The <@<
Track Visibility <napshots and %&P&%6s
own Track View <creen <ets for the most
part serve different purposes, Auite apart
from each other. Towever, there will be the
odd occasion where put together they might
possibly serve up the occasional surprise8
The following table summari7es the
different functionality of <@< Track Visibility
<napshots and %&P&% Track View <creen
<ets. fter that, you6ll see some e/amples.
SWS Trac, Visibility Sna!shots REAPER Trac, View Screen Sets
The only information saved in a <@< Track Pist
visibility snapshot is as follows$
@hich tracks are displayed in the TCP and in the
LCP respectively, and which are not.
@ith track visibility snapshots, any track, tracks, or
combination of tracks can be hidden or displayed
in the TCP, the LCP, both, or neither.
:ther track status information 9such as track height,
track order, mute'solo status, TCP width, etc= is not
recorded in a pure visibility snapshot, and is
therefore not recalled with the snapshot 9but see
note below=.
Depending on which <ave <tate options are enabled,
the following information may be included in and
saved with your %&P&% Track View <creen <ets$
Track heights.
Tori7ontal arrangement view 7oom.
Play cursor position.
Track scroll position.
Jou can use %&P&%6s native commands to hide any
track9s= in the TCP or LCP 9but not both=, or to use a
te/t string 9e.g. vo/= as a filter to limit which tracks
are shown in the TCP at any time. This information is
not saved with your %&P&% track screen sets. )t will,
however, be saved with any <@< track visibility
snapshot that you make when any such %&P&% filter
or track hide options are active.
Kote$ The description above 9left column= refers to <@< snapshots which are visibility snapshots only. )n
Chapter . you will see how visibility snapshots can be combined with other track filters. For the purposes of
this current e/ercise and the tutorial that follows, however, you would be best advised to ignore these other
track filters until you get to that chapter.
That6s the theory. Pet6s now look at an e/ample of how you might wish to use these two features together in
practice.
.D
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REAPER Plus! The Power of SWS Extensions 84 1..19
Tutorial
This tutorial assumes that you are familiar with %&P&%6s Track View <creen <ets,or at least their basics. For
the purposes of learning, in this tutorial we will use only simple screen sets. Feel free to be more ambitious if
you wish.
#. :pen the file StayWith-e>.RPP and save it as StayWith-e.RPP
!. Choose View1 Screen Sets to open the %&P&% <creen <ets @indow. Click on the Trac, View tab.
+. Press 3trlJP' 2n to view the whole pro1ect and press the N key once or twice 9as necessary= to
minimi7e all tracks.
-. 5se the Sa4e State button to save this screen set as screen set #, called Fill1 Pro7ect -in.
C. Press Pa'e *! four times to increase the track height. <ave this view to screen set !, called Full
Pro7ect Show Vus.6
E. 5sing whichever method you prefer 9^ keys is easy8=, 7oom hori7ontally so that only about +" secs of
your pro1ect timeline is visible. <ave this to another track view screen set 9set += as <# secs with Vus.
,. 5se the N key to minimi7e track height. <ave this as track screen set -, <# secs -in Lei'ht
.. <ave the file.
D. <tart with the Full Pro7ect show V*s screen set and All Trac,s snapshots both selected 9see below=.
rrange your windows so that both the track 9arrangement= view and mi/er view are visible.
#". 0ow select the snapshot Vocals )nly. :nly the five vocal tracks 9including the folder= will now be
displayed in both the TCP and the LCP.
D"
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B SWS Trac,list an& Trac, -ana'e(ent
##. Kefore proceeding any further notice a slight inconsistency of interface that you will have to live with.
)t6s no big deal U. to select a Track View screen set, you need to double3click on its name in the screen
sets window. To select a snapshot, however, you should click only once on its name in the snapshots
window$ double3clicking is used to edit the snapshot name.
#!. Click once on Guitars )nly to select this snapshot. 0ow only the guitar tracks are visible in both TCP
and LCP.
#+. 0ow double3click on Full Pro7ect -in in the <creen <ets window. <uddenly, all tracks are restored to
view in the LCP. This is because %&P&%6s native commands do not recogni7e the option to hide the
same tracks in both the TCP and the LCP at the same time. The solution( U.
#-. Click again on Guitars )nly in your <napshots window. 0ow once again only the Buitar tracks are
shown in both the TCP and the LCP, while the track heights in the TCP remain minimi7ed and the
whole pro1ect length is still visible.
#C. Double3click in the <creen <ets window on <# secs with V*s. The track height is increased and you
will be 7oomed hori7ontally to 1ust +" seconds display U but all tracks will again be restored to the
LCP.
#E. Click once more on Guitars )nly in the <napshots window if you wish to fi/ this.
#,. Play around with switching between your Track screen sets and visibility snapshots until you get the
hang of this.
#.. @hen finished, choose the screen set Full Pro7ect -in and the snapshot Show All.
#D. <ave the file.
Kote$ Must in case you6re wondering U we haven6t yet discussed how you modify or even delete a track
visibility screen set. @orry not. @e6ll get to that in Chapter ..
.@ Visibility Sna!shots an& Pro7ect 3han'es
There6s one important issue that can arise with visibility snapshots and which needs to be mentioned here$
)f you add tracks to a pro1ect after you have created any visibility snapshots then by default those tracks will
not be filtered from view in your visibility snapshots.
Pet6s take an e/ample. )n the tutorials that you completed earlier in this chapter you created a visibility
snapshot called Vocals )nly. <uppose, however, that you later add some more tracks, perhaps a fiddle and a
mandolin. Ky default, these new tracks will not be filtered out, so that when you select your Vocals :nly
snapshot, the new fiddle and mandolin tracks will also be shown along with the vocal tracks.
Tappily, there is a way of getting round this, using certain <napshot window options and settings. This will be
fully e/plained in Chapter . complete with a tutorial 9..-..=.
.= 3usto( Actions an& -acros
There6s no specific custom actions or macros that )6m going to suggest for this section. This is because
everybody6s needs in this area are so personal.
%emember that back in <ection ,.- ) suggested that you e/periment by adding a few of the <@< track
management and visibility actions to one of your toolbars. Jou might find these particular commands helpful or
you might not. )n either event, what you should do is go thru the list carefully 9in the appropriate part of
Chapter #!= to identify those that you might find useful to add to one of your toolbars or menus, or for which
you might wish to assign keyboard shortcuts.
D#
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REAPER Plus! The Power of SWS Extensions 84 1..19
D!
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@ B SWS Sna!shots
@ SWS Sna!shots
<@< <napshots 9sometimes called <@< Li/ing <napshots= for me deliver the most important, powerful and
useful feature of the entire <@< e/tension pack. This is because they open up for you mi/ing opportunities that
are Auite simply staggering.
<hown below is the status of the <napshots window for the pro1ect file StayWith-e.RPP as it was at the
end of Chapter ,.
)f your display does not include the panel on the right 9with the Kew button at the top=, then clicking on the
Show )!tions button will cause it to be displayed. t this point, the <how :ptions button will be replaced by a
Li&e )!tions button.
There6s a lot to understand in the <@< <napshots module. Pet6s start by identifying the various components of
the window itself$
3o(!onent Ex!lanation
The 3olu(n Lea&ers
This serves a function similar to the column header in the Larker Pist
window. Jou can determine which columns are displayed and in
what order, and sort the snapshots list by any column.
The Sna!shots :ist Area
This occupies the largest part of the window. Tere is where your
snapshots are listed. )t has its own conte/t menus as well as various
mouse and keyboard controls.
The )!tions Panel
Pocated to the right, this is where you can e/ecute some of the most
important including creating new snapshots and defining snapshot
filters.
Do not be concerned if this does not mean very much to you at present. @e6ll shortly get to some e/amples
which should help you, but first, largely for future reference purposes, let6s look at each of these three
component areas in some detail.
D+
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REAPER Plus! The Power of SWS Extensions 84 1..19
@.1 The Sna!shots :ist Area
This area displays your list of current snapshots. )t does, of course, do much more than 1ust that.
3o((an& % )!tion % Action Ex!lanation
The Sna!shots :ist Ctself
Select an& Recall Sna!shot
Click once on any snapshot name or number.
E&it Sna!shot Ka(e
Double3click on the snapshot name.
Sort Sna!shot :ist
Click on any column header to sort by that column. Click again to
reverse the sort order.
3han'e 3olu(n )r&er
Drag and drop column headers left or
right.
Li&e%2is!lay 3olu(n
%ight click over column headers to open
conte/t menu, then select the column
you wish to hide'display.
Restore 2efault 3olu(n
2is!lay
%ight click over column headers and
choose Reset.
Sa4e Sna!shot. 3trlJ3lic, on <napshot 0ame
2elete Sna!shot. AltJ3lic, on <napshot 0ame
The Sna!shots :ist 3ontext -enu 8when ri'ht clic,in' o4er any ite( in the list9
-er'e Cnto Pro7ect ...
:pens the Sna!shot Paste window for recalling only portions of the
selected snapshot.
Rena(e
&nables you to rename the currently selected snapshot.
Show Sna!shot 2etails
:pens a window showing comprehensive information about e/actly what
settings have been saved into the selected snapshot.
Select Trac,s in Sna!shot
<elects all tracks in the current snapshot in the TCP and in the LCP.
A&& Selecte& Trac,s to
Sna!shot
dds to a snapshot any selected track9s= that do not already e/ist in that
snapshot, to the current snapshot, using the filter settings that match
that snapshot. Filter options in the <napshots window are ignored.
2elete Selecte& Trac,s fro(
Sna!shot
Deletes any track9s= currently selected from the current snapshot.
)4erwrite Sna!shot
:verwrites the snapshot contents with whatever changes you have
made 9according to whichever filters are currently enabled=, and saves
them. <ame as 3trlJclic, on snapshot name.
D-
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@ B SWS Sna!shots
3o((an& % )!tion % Action Ex!lanation
2elete Sna!shot
Deletes the currently selected snapshot.
3o!y Sna!shot
Copies the current snapshot to the
clipboard.
Copying, pasting, e/porting
and importing snapshot data
is done via the Sna!shot
Paste window.
Pater in this chapter you6ll
find a tutorial that steps you
thru this.
Ex!ort Sna!shot 0
&/ports the current snapshot to a
.<@<<nap file.
C(!ort Sna!shot 0
:pens the <napshot Paste window for
you to import snapshot data from a
previously saved .<@<<nap file.
Kew Sna!shot
Creates a new snapshot.
Paste Sna!shot
:pens the <napshot Paste window for
you to copy data from the clipboard into
the current pro1ect.
2oc, Sna!shots in 2oc,er
Toggles the docked status of the <napshots window.
3lose Win&ow
Closes the window.
The Sna!shots :ist 3ontext -enu 8when ri'ht clic,in' o4er e(!ty area9
Recall 0..
%ecall e/isting snapshot. There will be one %ecall command for each
snapshot, e.g. 9in the sample pro1ect file= %ecall Buitars :nly, %ecall
Vocals :nly, etc.
C(!ort Sna!shot 0
These commands have the same effects
and serve the same purposes as listed
above.
Kew Sna!shot
Paste Sna!shot
2oc, Sna!shots in 2oc,er
3lose Win&ow
)n addition to the above, PC
users can obtain a brief
overview of the contents of any
snapshot by hovering the mouse
over the snapshot name 9see
right=. This causes a tool tip to
be displayed.
This tool tip feature is not
currently available for :<2 users.
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REAPER Plus! The Power of SWS Extensions 84 1..19
@." The )!tions Panel
The options panel at first sight might not look like anything special ? but understanding how to use this is the
main key to getting the best out of your <@< mi/ing snapshots. )t will take a little time and some practice
before you really get on top of it 3 the e/amples that follow in this chapter have been designed to help you to
do this. Leanwhile, the summary table below will prove to be a useful reference point for you, even if you don6t
Auite understand it all 1ust yet.
@ith one or two e/ceptions ? such as the button labelled Kew and the option Pro(!t for Ka(e ? most of the
items in this panel can be used for two important purposes$
To decide which particular track characteristics are included when a snapshot is saved and which are
not. For e/ample, in Chapter , we created some snapshots which were visibility only. This ensures that
when one of those snapshots is recalled, its track visibility settings will be restored, but anything else
that may have changed 9such as track volume or pan settings= will be left as they are now, and will not
be restored to their levels when the snapshot was created or last saved.
To decide which particular track characteristics you want included at any time that an e/isting snapshot
is recalled. :bviously, only those items which were saved with the snapshot can be recalled. For
e/ample, if a snapshot is saved with track visibility, pan and volume levels included, then all or any of
these 9as you wish= can be included when the snapshot is recalled. Those items that were not included
when the snapshot was saved 9in this hypothetical e/ample this would include F2 chains and mute'solo
status= could not be restored with the snapshot.
The following table summari7es the items in the options panel$
3o((an& % )!tion % Action Ex!lanation
Kew 9button=
Creates a new mi/ing snapshot based on a combination of the pro1ect6s
current status and your filter option selections.
There is no limit on the number of snapshots you can create for any
pro1ect.
Pro(!t for Ka(e
)f this option is enabled, you will be prompted for a name at the time
you create a new snapshot. )f it is disabled, the snapshot will be
automatically be named, something like the word HLi/I followed by the
ne/t available snapshot number, e.g. Li/ C.
Show% Li&e )!tions button
9at bottom=
This determines whether the various options 9including the all important
filter options= are displayed or hidden within the <napshots window.
The re(ainin' ite(s are all filter o!tions$
Full Trac, -ix
These three mutually e/clusive options determine how the snapshot
contents will be filtered when a snapshot is saved, or when it is recalled
with the Filter on Recall option enabled.
)f Full Trac, -ix is selected, then all mi/ing options are enabled$ Pan,
Volume, Lute, <olo, F2 Chain and <ends. Visibility and <election are not
included.
)f 3urrent Visibility is selected then only track visibility is enabled.
)f 3usto( is selected then you are able to choose as many or as few
9but at least one= of the eight available options as you want.
3urrent Visibility
3usto(
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@ B SWS Sna!shots
3o((an& % )!tion % Action Ex!lanation
Pan
@ith Pan enabled, track pan settings are saved into and can be recalled
with the snapshot. These include the left3right positioning of track pan
faders but not any track pan law that might have been selected.
Track pan automation envelopes, however, are not included with these
track pan settings. )f you wish pan automation to be included, you
should put one of the available M< pan plug3ins into the track6s F2 chain
and create an envelope to go with it. Jou will then need to also enable
the FA 3hain as one of your filter options.
Volu(e
@ith Volume enabled, track fader volume levels are saved into and can
be recalled with the snapshot.
Track volume automation envelopes, however, are not included with
these track volume settings. )f you wish volume automation to be
included, you should put one of the available M< volume plug3ins into the
track6s F2 chain and create an envelope to go with it. Jou will then need
to also enable the FA 3hain as one of your filter options.
-ute
@ith Lute enabled, the mute status of tracks is saved into and can be
recalled with the snapshot.
Solo
@ith <olo enabled, the solo status of tracks is saved into and can be
recalled with the snapshot.
FA 3hain
@ith F2 Chain enabled, the tracks6 F2 Chains are saved into and can be
recalled with the snapshot.
This feature is huge. The F2 information saved along with the F2 Chains
themselves includes$
The list of effects in the chain.
The bypass'offline'online status of each effect.
ny aliases 9custom names= that you have given to any effect in the
chain.
The parameter settings and values of every parameter for every
effect in the chain.
ny automation envelopes that you have created for any parameter
on any effect.
ny track parameter controls that you have created for any effects.
ny parameter controls that have been assigned to an e/ternal device
such as a control surface.
ny parameter modulation that you have set up for any parameter on
any effect in the chain.
There6s almost enough there to 1ustify a separate manual for this feature
alone. @e won6t be e/ploring every single one of these possibilities in
the tutorials in this chapter, but we will work thru a good selection of
them.
D,
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REAPER Plus! The Power of SWS Extensions 84 1..19
3o((an& % )!tion % Action Ex!lanation
Sen&s
@ith <ends enabled, the following track sends'receives information is
saved into and can be recalled with the snapshot$
The send type, volume and pan settings.
Tardware outputs.
:ther aspects, such as send envelopes and send mutes, are not saved
with the snapshot.
Visibility
This option has already been fully e/plored in Chapter ,. @hen this
option is enabled, the visibility status of tracks in both the TCP and the
LCP are saved into and can be recalled with the snapshot.
Selection
@ith <election enabled, the current track selection will be saved with
and can be recalled from the snapshot.
Filter on Recall
@ith this option enabled, only those aspects of the snapshots
corresponding with those filter bo/es which are ticked will be recalled
with the snapshot. :therwise the entire snapshot will be recalled.
For e/ample, you may have saved a snapshot with the Custom selection
of volume, pan and F2 Chain options all enabled. )f you recall it,
however, with only the Volume option enabled and Filter on %ecall also
ticked, then only the Volume levels will be recalled, not the pan settings
or the F2 chains.
Selecte& Trac,s )nly
@hen this option is enabled, then the snapshot settings for those tracks
that are currently selected will be the only ones that will be recalled
when a snapshot is selected. This filter is also applied to new snapshots
and saved changes to e/isting snapshots.
Li&e Kew Trac,s on Vis
Recall
)f this option is enabled, then any tracks which may have been added to
the pro1ect since a snapshot was last saved will not be displayed when a
snapshot which includes visibility settings is recalled.
@.< -issin' Sna!shot Cte(s
)t6s possible that at some time after saving a snapshot you might do some work in %&P&% which removes
information from the pro1ect, something which was included in the snapshot. )f that happens, a message similar
to that shown on the right will be
displayed. )n this case, two tracks
that were included in the original
snapshot have since been removed
from the pro1ect.
Choosing Ues will cause the
snapshot to be updated with the
appropriate item9s= removed from it.
Depending on what the missing item
is, choosing Ko might give you the
opportunity to recreate it manually.
Jou might choose 0o, for e/ample, if
you wanted at this point to undo a
track deletion.
D.
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@ B SWS Sna!shots
@.> So(e 3ase Stu&ies an& Tutorials
Kecause <@< <napshots open up so many different paths of opportunities for you, this chapter will take a
slightly different approach to tutorials than have the earlier chapters. Jou will be given the opportunity to work
thru a series of tutorials, each designed to help yo understand one or two aspects of how you can use mi/ing
snapshots. These lessons build on each other. To get the most out of these, you are strongly advised to work
thru the entire set.
)n working thru the tutorials that follow in this section you will be asked to make numerous changes to various
track and other parameters, such as volume and pan levels, F2 settings, sends, and so on. For the purpose of
learning, the actual values at which you set these parameters is not really important. @hat matters is that you
learn how to use the <napshots window to create more fle/ible mi/ing options.
)n particular, note that Tutorial . will deal with the issues concerning visibility snapshots and pro1ect changes
that were discussed near the end of Chapter ,.
@.>.1 Tutorial 1$ Sna!shot Essentials
Pater, we6ll be returning to those visibility snapshots that we made in Chapter ,,and taking a look at how we
can develop and build on them. Leanwhile, this first tutorial begins with a pro1ect that as yet does not include
any mi/er snapshots.
)n this tutorial you will learn$
Tow to create and name snapshots.
Tow to recall snapshots.
Tow to switch between snapshots.
Tow to modify and save changes to a snapshot.
Tutorial
#. :pen the file StayWith-e??.RPP and save it as StayWith-e@>1.RPP.
!. For the sake of this e/ercise,
delete the two sends to the
Vo/Verb track 9one each
from Vox Anne and Vox
-at=. %eplace these with a
single send 9post fader, post
pan= from the Vocals folder.
+. View the SWS Sna!shots
window.
-. Lake sure the option
Pro(!t for Ka(e is
enabled.
C. <elect the filter option Full
Trac, -ix, then click on
Kew. @hen prompted for a
name, type Cnitial -ix and
press Enter. Jou now have
a snapshot of this pro1ect
that you can return to at any
time 9see right=.
DD
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REAPER Plus! The Power of SWS Extensions 84 1..19
E. <ave the pro1ect file.
,. 0ow try this Auick e/periment. Try making ad1ustments to the volume and'or pan settings of any of the
tracks and folders. Delete some of the F2 9for e/ample, from the guitar tracks=. Lute the harmonica.
Lake as much of a mess of this mi/ as you like as you play the song.
.. 0ow click once on the Cnitial -ix te/t in the <@< <napshots window. Jour pro1ect settings will all be
restored to their former state. That in a nutshell demonstrates what a mi/er snapshot does.
D. @e are now about to create two new snapshots. Click on the Kew button. @hen prompted for a
name, type Fill -ix 1 and press Enter. %epeat this step, this time naming the snapshot Full -ix ".
<ave the file. t present, both these snapshots are identical not only to each other but also to the
)nitial Li/ snapshot. That6s about to change.
#". Play the song.
##. <elect Full -ix 1. Pet6s make 1ust one simple change. <et the volume on Vox Anne to about 3+ dK.
#!. %ight click over the te/t Full -ix 1 and choose )4erwrite Sna!shot. This change is now saved.
<ave the file.
#+. <elect Full -ix ". <et the Pan fader for Vox Anne to about #CY left. Kecause of the way the two
tracks are grouped, Vox -at will automatically go to about #CY right. Told the Shift key while you
then drag the Pan fader for Vox -at back to the center.
#-. <et the Volume fader of the
Vocals mi/ folder to about
3# dK. <et the Volume on
Vox Anne at about "." dK.
)ncrease the Volume on
Vox Lat by about a decibel.
Power both of the Vox
2elay tracks by about + dK
each.
#C. Love the Pan fader on
Guitar 1 Anne to about
E"Y right. Kecause of the
way the tracks have been
grouped, the pan faders on
the other three guitar tracks
will also be ad1usted.
#E. Power the Volume faders of
both the Vo/Verb and Verb
tracks by about + or - dK.
Love the Pan fader for
VoxVerb about !"Y left,
and move the Pan fader for
Verb about !"Y right.
#,. Power the Lar(onica
volume fader by about !
decibels.
#.. Do not left click on the
snapshot Full -ix " or your
changes will be lost.
)nstead, either hold down
the 3trl key and click on the snapshot name while you are holding it, then release the 3trl key, or
right3click over the snapshot name and choose )4erwrite Sna!shot from the menu.
#""
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@ B SWS Sna!shots
#D. <ave the file. s you play the song, switch between the two snapshots Full -ix 1 and Full -ix ".
Jou should notice that each will sound very different. :f course, you could try out as many different
mi/es as you like.
!". )f you like, right click over one of the snapshots and choose Show Sna!shot 2etails 9as shown
above, previous page=. The entire contents of the snapshot are displayed. For more about this, see
3hec,!oint below.
@.>." Tutorial "$ *n&erstan&in' Sna!shot Filters.
)n this ne/t e/ample, the main thing you will learn is how filters can be applied selectively when recalling
snapshots. There6s a bit more to understand here than at first meets the eye, so take it slowly.
Tutorial
#. )f the file StayWith-e@>1 is not still open, open it. <ave it as StayWith-e@>".
!. @ith the SWS Sna!shots
window open, select Full
-ix 1. Pet6s find out what
our pro1ect would sound like
with the volume settings
from this mi/ but the pan
settings from Full -ix ".
+. )n the Filter section, select
3usto(. Lake sure that
Pan is then the only filter
selected 9see right=.
-. Lake sure that Filter on
Recall is enabled, and that
Selecte& Trac,s )nly is
not enabled.
C. 0ow select Full -ix ".
0otice that only the pan
settings from that mi/ will
be recalled$ the volume
settings will stay as they are. The effect is most easily noticed if you use headphones.
#"#
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3hec,!oint
Kefore moving on to the ne/t tutorial, it6s important that you make sure you really understand what
you have done here with your two snapshots Full -ix 1 and Full -ix ". )t isn6t difficult, but there
are two important facts that you need to understand$
Kecause you selected the option Full Trac, -ix when creating your snapshots, all of the
relevant mi/ information is included in the snapshot. This includes volume and pan levels, details of
sends, F2 chains, and so on 9including the mute'solo status of all tracks=.
Towever, the only differences between the settings of these two mi/es are differences in dome
of the volume and pan settings. For that reason, these are the only things that change when you
switch between these tow mi/ing snapshots.
)n the ne/t couple of tutorials we are going to look at how filters can be used selectively in mi/ing
snapshots to achieve greater precision.
REAPER Plus! The Power of SWS Extensions 84 1..19
E. Play the song as you switch between Full Li/ # and Full Li/ !. &ach time you change your snapshot
selection, the pan settings will change back and forth.
,. 0ow disable the Pan filter and enable the Volume filter. 0ow as you switch between the two snapshots,
the pan levels will remain constant but the volume will change.
.. 0ow enable both the Volume filter and the Pan filter. s you switch back and forth, both pan and
volume levels will once again change.
D. <ave the file.
#". 0ow let6s build on that to bring another factor into our snapshots. @e are going to introduce a filter
solo snapshot into our model.
##. Lake sure that Filter on Recall is enabled.
#!. <elect the )nitial Pro1ect snapshot.
#+. Lake sure that the only filters enabled is <olo.
#-. Click on the Kew button to create another new snapshot. Call this 2elay an& Re4erb. @e can use
this to check on how much delay and reverb has been added to our two full mi/es.
#C. @ith the new Delay and %everb mi/ selected, <olo the two Vo/ Delay tracks and the reverb bus. %ight3
click over the snapshot name and choose )4erwrite Sna!shot. <ave the file.
#E. Lake sure that the filters Pan, Volume and <olo are now enabled. Play the song.
#,. Click on Full -ix 1 then select 2elay an& Re4erb. Jou will hear only the desired track selection for
Full Li/ #.
#.. @ith the filters Pan, Volume and <olo still enabled. Click on Full -ix " then on 2elay an& Re4erb.
Jou will now hear only the desired track selection for Full Li/ !.
#D. Click on Cnitial -ix to now select this.
!". <ave the file.
!#. %ight click over the 2elay an& Re4erb snapshot and choose Show Sna!shot 2etails. Jou can see
that this snapshot holds only holds the track <olo information. This is why you are able to load it on top
of other snapshots without affecting any settings other than the track solo status.
#"!
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@ B SWS Sna!shots
@hen you create
and save a new
snapshot with the
Custom option
selected, then only
those filters which
are currently enabled
will be saved into the
snapshot.
<hown here are the
snapshot details for
our Delay and
%everb snapshot$
the only information
recorded for each
track is its <olo
status
Kote$ The contents of any snapshot details window can be selected and copied, to be pasted if you wish into a
te/t or similar document outside %&P&%.
Kote$ Jou would use the same techniAue as in this section to create -ute settings snapshots, simply using the
Lute button rather than the <olo button.
#"+
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3hec,!oint
Kefore moving on to the ne/t tutorial, it6s important that you make sure you really understand what
you have done here, using your two snapshots Full -ix 1 and Full -ix ". )t isn6t difficult, but there
are two important facts that you need to understand$
@hen you create and save a new snapshot with the Custom option selected, then only those
filters which are currently selected will be saved into the snapshot 9see below=.
@hen you recall a series of snapshots which use different filters you do not change the
individual snapshot definitions.
)f you want to save a snapshot of one of these HhybridI combinations of snapshot settings, you
could do so, either by creating a new snapshot while that combination of settings is in use, or by
overwriting one of your current snapshot definitions. @hen you do this, you need to ensure that
you have the correct filters selected.
REAPER Plus! The Power of SWS Extensions 84 1..19
@.>.< Tutorial <$ The Selecte& Trac,s )nly )!tion
&nabling the Selecte& Trac,s )nly option allows you to limit the use that you make of any snapshot to only
the currently selected track9s=. @hen this option is enabled, only those snapshot settings relating to the
currently selected track9s= are recalled. )n this ne/t tutorial you will learn how to do this.
Pet6s take an e/ample, based on our two snapshots Full Li/ # and Full Li/ !. @e might like to listen to see how
the Vocal settings for Full Li/ # sound in combination with all the other track settings on Full Li/ ! ? and vice
versa. Then, if we find something we like, we might wish to save that combination as a 0ew snapshot. Jou
need to be methodical and thorough when doing this, but it is not difficult.
Tutorial
#. )f the file StayWith-e@>" is not still open, open it. <ave it as StayWith-e@><.
!. )n either the TCP or the LCP, select the Vocals folder and its four child tracks.
+. View the <@< <napshots
window. Lake sure that you
have the Custom option
selected and the filters for
Pan, Volume and <olo all
selected
-. Lake sure that Filter on
Recall is enabled, and that
Selecte& Trac,s )nly is
not enabled.
C. <elect Full -ix 1. Play the
song. Lake sure that the
Vocals folder and its four
tracks are still selected. 0ow
enable the option Selecte&
Trac,s )nly and click on Full -ix " 9see right=. The vocal track settings will now be changed to
match those of Full Li/ !, but the other track settlings will remain as they are in the Full Li/ #
snapshot..
E. 0ow disable the option Selecte& Trac,s )nly. <elect Full -ix " again. Jou have now selected this
snapshot in its entirety.
,. 0ow once again enable the option Selecte& Trac,s )nly. <elect the snapshot Full -ix 1. Jour mi/
will consist of the vocal settings from Full Li/ # and everything else from Full Li/ !.
.. Pet6s say we like this
combination and want to
keep it as a new snapshot.
First, to make sure that the
settings are saved for all
tracks, makes sure that
Selecte& Trac,s )nly is
disabled. To make sure that
all types of setting are
saved, make sure that the
filter options Pan1 Volu(e1
-ute1 FA 3hain1 Solo and Sen&s are all enabled.
D. Click on Kew, name your new snapshot Full -ix < and save the file.
#". Click on the Ka(e column header so that the snapshots are sorted by name 9see above, previous
page=. <ave the file again.
#"-
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@ B SWS Sna!shots
@.>.> Tutorial >$ Sen&s an& Sna!shots
This tutorial introduces you to saving and recalling <ends settings in mi/ing snapshots. There6s more to it than
you might think. )n this tutorial you will learn$
Tow to save changes to sends in your mi/er snapshots.
Tow to blend sends snapshot settings into your mi/es.
Tutorial
#. )f the file StayWith-e@>< is not still open, open it. <ave it as StayWith-e@>>.
!. First, we are going to save the current sends and
their settings to a new snapshot.
+. <elect the 3usto( filter option and disable all
filter types e/cept Sen&s. Lake sure that
<elected Tracks :nly is not selected.
-. Click the Kew button, name your new filter
Sen&s 1 and press Enter.
C. %ight click over this, and choose Show
Sna!shot 2etails. <croll thru this window
9shown on the right= for a Auick check on the
snapshot6s contents. Close the window.
E. @ith <ends # still selected, display the %eceives
for the Vo/Verb track. Delete the %eceive from
the Tarmonica track.
,. %ight click over the <en&s # label and choose
)4erwrite Sna!shot.
.. @ith Sen&s 1 still selected, click on 0ew and
create another new send called <ends !. t this
stage, this is an e/act copy of <ends #.
D. @ith Sen&s " selected, open the )': window for VoxVerb. )ncrease the send Volume level by #." dK.
#". :pen the %eceives window for the Vox 2elay 1 track. <et the Volume faders on both %eceives to
about 3#.C dK and set the
pan faders to E,Y right and
left respectively.
##. :pen the %eceives window
for Vox 2elay " and set
both Volume faders to about
3".C dK.
#!. %ight3click over the label
Sen&s " and choose
)4erwrite Sna!shot from
the conte/t menu.
#+. <ave the file.
#-. Jou can now play the file
using any of your Full Li/
snapshots, at the same time
switching between the two snapshots <ends # and <ends ! to see which you prefer.
#"C
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REAPER Plus! The Power of SWS Extensions 84 1..19
@.>.; Tutorial ;$ A&&in' Trac,s to Sna!shots
)n this ne/t section we are going to deal with a situation where a track or number of tracks are added to a
pro1ect after you have created a number of snapshots.
)f you add any e/tra tracks, then those tracks will be displayed and used alongside your snapshots 9other than
visibility snapshots, where you may choose to keep them hidden= whether they are added to the snapshots or
not. Towever, unless you also take the e/tra step of actually adding them to your various snapshots, their
track settings will not be saved into your snapshots.
This will be easier to understand after you have worked thru an e/ample.
Tutorial
)n this tutorial, we6ll add an e/tra harmonica track, together with some track settings such as volume and pan
levels. @e will then add that track to each of our three Full Li/ snapshots.
#. )f the file StayWith-e@>> is not still open, open it. <ave it as StayWith-e@>;. <elect the snapshot
Full -ix 1.
!. Lake sure that Full Trac, -ix is selected in the Filter column.
+. Create a second Tarmonica track by duplicating the e/isting one. Lake sure that these two tracks are
both included within the )thers folder, and renamed Tarmonica # and Tarmonica ! as shown below.
-. <et the Volume for both Tarmonicas at about 3-.C dK. Pan the first !CY left and the second !CY right.
C. dd an instance of +S$ 2elay%&elayFchorus to the second of these. <et the Delay time to -" ms and
the wet'dry mi/ to somewhere between +"Y and -"Y. Peave other settings at their defaults. <ave the
file. Play it.
E. dd an instance of %eaComp to the )thers folder.
,. <et the Threshold to about 3!C dK, ratio to about -$#, @et to about 3!." dK and enable the uto
%elease option. <ave the file.
.. Lake sure that the :thers folder and its two child Tarmonica tracks are selected. 0ow right3click over
the te/t Full -ix 1 and choose A&& Selecte& Trac,s to Sna!shot. %ight3click again and choose
)4erwrite Sna!shot. 0ow view the snapshot details ? this e/tra information is now recorded there.
<ave the file.
#"E
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@ B SWS Sna!shots
D. <elect Full -ix ". 0otice that the compressor disappears from the :thers folder and your Tarmonica
pan and volume settings change.
#". This time, pan the two harmonica tracks about -CY left and right respectively and set their volumes to
about 3, dK each. Pan the :thers folder about +"Y right.
##. Create a delay'chorus
effect in the second
harmonica track similar
to that used in step C.
above, but with a delay
time of E" ms 9as shown
right=.
#!. Lake sure that the
:thers folder and its two
child Tarmonica tracks
are selected. 0ow right3
click over the te/t Full
-ix " and choose A&&
Selecte& Trac,s to Sna!shot. %ight3click again and choose )4erwrite Sna!shot. 0ow view the
snapshot details ? this e/tra information is now recorded there. <ave the file.
#+. <elect Full -ix <. Lake whatever changes you like to the :thers folder and the two harmonica tracks.
:ne suggestion is that you might like to pull it back a little further in the mi/. Towever, do not at this
stage use any automation or envelopes. @e6ll get to those later8
#-. @hen you have finished, select these tracks and add them to the snapshot. :verwrite the snapshot
and save the file.
#C. fter this, you have a number of options for how you handle your Cnitial Pro7ect snapshot. Probably
the easiest is to select it and mute the new harmonica track. @ith the track selected, you can then
right3click over Cnitial Pro7ect to first
add the selected track to the snapshot
and then overwrite it.
#E. <ave the file.
Ti!$
@hen you are working with mi/ing snapshots it
can be helpful to keep your 5ndo Tistory window
open. This makes it easy to go back to any
previous step.
Jou should also consider under the General
section of your Preferences enabling the
following options$
<ave 5ndo Tistory with Pro1ect Files.
llow Poad of 5ndo Tistory
#",
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REAPER Plus! The Power of SWS Extensions 84 1..19
@.>.? Tutorial ?$ 2eletin' Trac,s fro( Sna!shots
)n this section we will look at how you can delete tracks from e/isting snapshot definitions. To do this, you
simply follow this seAuence$
)n the <napshots window select the snapshot.
)n either the TCP or the LCP select the track9s= to be deleted.
%ight3click over the snapshot name and choose 2elete Selecte& Trac,8s9 fro( Sna!shot.
)t is important to understand that what you are doing here is deleting from the snapshot any and all information
about track settings that may be stored in that snapshot 9such as volume and pan settings, F2 chain, etc.=. The
track of course will remain in the pro1ect file. )t will still appear and it will still play whenever this snapshot is
selected. )t is simply that choosing this particular snapshot will no longer result in any settings for that track
being recalled. s usual, an e/ample might make this clearer.
Tutorial
)n this e/ample we will first delete some tracks from a snapshot and then import settings for those tracks from
another snapshot, then modify them and save the changes.
#. )f the file StayWith-e@>; is not still open, open it. <ave it as StayWith-e@>?. :pen the <@<
<napshots window and make sure Full Trac, -ix is selected in the Filter column.
!. <elect the snapshot Full -ix <. @e are going to delete the :thers folder and its child harmonica
tracks from this snapshot.
+. )n the TCP or LCP, select
the :thers folder and the
two Tarmonica tracks.
-. %ight3click on the snapshot
name Full -ix < and
choose 2elete Selecte&
Trac,8s9 fro( Sna!shot
9see right=. t first glance
this doesn6t seem to have
done anything.
C. 0ow select Full -ix 1. The
snapshot settings are
loaded, including those for
the three selected tracks.
E. 0ow click on Full -ix " again. The snapshot setting for that mi/ are loaded ? but notice that for the
)thers folder and its two child Lar(onica tracks nothing changes. These remain e/actly the same as
they were after Full Li/ # was loaded.
,. 0ow click on Cnitial Pro7ect. These settings will be loaded, with the second Tarmonica track muted.
.. Click again on Full -ix <. gain, this snapshot will be loaded, but the settings for the three tracks in
Auestion will not change. Ky now you should see what6s happening.
D. Click again on Full -ix " then on Full -ix <. This has the effect of importing into your current mi/
the settings for the :thers folder and the Tarmonica tracks from Full Li/ !.
#". @e can now make some change to these. dd an instance of %ea&> to the :thers folder, before the
compressor. dd a little gain 9no more than + dK= around !"" T7 and lower the gain control around
+,C"" T7 by about + dK. )n both cases use a bandwidth of about #.+ octaves.
##. %ight3click over the Full -ix " snapshot name and choose )4erwrite Sna!shots. <ave the file.
#".
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@ B SWS Sna!shots
@.>. Tutorial $ FA 3hains an& Sna!shots
<ome of the earlier e/amples that you have worked thru have included e/ercises which involve attaching F2
plug3ins to snapshots and saving these into the snapshot along with their various parameters. This section
e/plores some of the possibilities that mi/ing snapshots give you for F2 management in more depth.
The possibilities here are almost boundless. )n this section you will be shown some e/amples of how you can
use <@< <napshots for the management of F2 within %&P&%. fter that, it6s up to you to let your own
imagination and creativity take over. The e/amples that you will be shown include how to$
<tore different F2 parameter values in different snapshots.
<tore different F2 chains in different snapshots.
5se different track parameter controls with different snapshots.
5se different automation curves 9envelopes= for the same parameter within different snapshots.
Tutorial !art 1
This section covers a lot of material. For your convenience, the tutorial will be split into three parts. First, let6s
deal with F2 parameters and F2 chains.
#. )f the file StayWith-e@>? is not still open, open it. <ave it as StayWith-e@>. :pen the <@<
<napshots window and make sure Full Trac, -ix is selected in the Filter column.
!. <elect Full -ix ". @e
are going to e/periment
with how we handle the
male vocal track 9Vox
-at=.
+. :pen the F2 window for
this track and select
Rea3o(!. <et the
threshold to about 3!+
dK, ratio to about #"$#
and the wet output level
to about ^+.C dK.
&nable the auto release
option 9see right=.
Together, these settings
make for a more evened
out volume.
-. Told 3trl while you click
on the snapshot name
Full -ix ". These
changes are now saved
into the snapshot. <ave the file.
C. 0ow select Full -ix <. 0otice that the compressor settings are changed. This time let6s really go for a
full3on compressor effect. <et pre3comp to about #"" ms and engage both classic attack and auto
release. <et the threshold to about 3!. dK, ratio round #C$#, knee si7e about #C dK, and wet output to
^C.C dK.
E. Told 3trl while clicking on the snapshot name Full -ix < to save the snapshot. lso, save the file.
,. s you switch between the three full mi/ snapshots you will notice a definite difference in the Aualities
of this vocal. )f you found one you especially liked, you could use the same techniAue as in Tutorial E
to bring these settings into one or other of your Full Li/ snapshots.
#"D
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REAPER Plus! The Power of SWS Extensions 84 1..19
.. 0ow let6s turn our attention to the female vocal track 9Vox Anne=.
D. <elect this track and display its F2 chain. <elect Full Li/ !. )t might help to solo the track while you are
working thru the ne/t few steps.
#". <elect the %ea&> plug3in and select band +. lower the gain to about 3!.C dK. This makes the vocal 1ust
a little more HwispyI.
##. t the end of the F2
chain add
+S$SStillwell%exciter.
5se fairly conservative
settings, as shown here
9right=.
#!. Told 3trl while clicking
on the snapshot name
Full -ix " to save the
snapshot. lso, save the file. 5nsolo the track.
#+. 0ow select Full -ix <. ;eep the F2 chain for this track displayed. The &> should have reverted to its
previous settings, and the &/citer should have vanished. Pet6s try something else.
#-. %emove the %eaComp plug3in and replace it with %ea2Comp.
#C. Lake sure that Auto -a,eu! Gain is deselected on all four bands.
#E. d1ust the band + threshold so that this band is 1ust engaged 9try about 3!E dK=. <et band -
parameters as shown above, and raise the overall gain to somewhere between # dK and #.C dK. Jou
should now definitely hear a more HwispyI female vocal now. Try it with the track soloed if you like.
##"
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@ B SWS Sna!shots
#,. )t is possible that the overall vocal mi/ level may now be too loud. )f so, lower the volume of the Vocals
folder as necessary.
#.. Told 3trl while clicking on the snapshot name Full -ix < to save the snapshot. lso, save the file.
#D. s you play the song and switch between the different Full Li/ snapshots, the different F2 chains for
the female vocal will be loaded.
!". <ave the file.
Tutorial !art "
This part of the tutorial shows you how you can store track parameter
controls in your snapshots. )n this case, we will take as an e/ample one
of the tracks that we used in the first part of this tutorial, the female
vocal. Kecause we have used different F2 chains in different mi/ing
snapshots it can be handy to include parameter controls in our TCP
and'or LCP to reflect this.
#. )f the file StayWith-e@> is not still open, open it. :pen the
<@< <napshots window and make sure Full Trac, -ix is
selected in the Filter column.
!. )n the <napshots window, select Full -ix <.
+. Display the Li/er View. Display the Li/er conte/t menu and
enable the options Show FA Cnserts When Si/e Per(its and
Show FA Para(eters When Si/e Per(its.
-. Display the F2 Chain for the female vocal track, Vox Anne. )t
might be considered that those F2 parameters most crucial to
this F2 chain are the Kand - Bain 9on the &>= together with the
Threshold , %atio and Bain on Kand - of %ea2Comp.
C. <elect %ea&>. Click on the Kand - Bain fader, then on the
Para( button in the F2 window. This causes a menu to be
displayed. Click on Show in Trac, 3ontrols.
E. 0ow select ReaA3o(!. %epeat this process for the Kand -
parameters Threshold, %atio and Bain. Jour mi/er panel should
now be similar to that shown on the right.
,. Told 3trl while you click on the snapshot name Full -ix <.
0ow whenever you recall this snapshot, these controls will be
displayed in your mi/er panel.
###
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3hec,!oint
Kefore moving on to the rest of this tutorial, let6s 1ust reinforce a fact or two.
The purpose of this tutorial has not been to teach you what you should or should not do with F2 to
enhance the sound of male or female vocals. )ndeed, some of the settings used here could be
considered to have been a little e/treme. The ob1ect of the e/ercise is to show you how you can use
mi/ing snapshots to hold alternate F2 chains for individual tracks, or, indeed, for your whole pro1ect
if you like.
This brings us to another consideration. &very change that you make here will effect the final sound
that is sent to the master. )n all probability, you would therefore be likely to also wish to make for
each individual mi/ changes to the parameter settings of some of the effects in the master F2 chain.
REAPER Plus! The Power of SWS Extensions 84 1..19
.. 0ow select Full -ix ". For the sake of the e/ercise, let6s assume that the most critical controls for this
F2 chain are as follows$
&> Kand + Bain
Compressor Threshold
Compressor @et :utput
&/citer Li/ Y
&/citer Drive Y
D. 5sing the same procedure as in steps -. to E.
above, place controls for each of these
parameters into the LCP 9see right=.
#". @hen you have finished, save these into the
Full -ix " snapshot.
##. <ave also the file.
#!. 0ow as you switch between the different
snapshots, the F2 parameter controls displayed
in the LCP will change, each time displaying
those controls that are most appropriate for that
snapshot.
Kote$
)n this tutorial you have assigned F2 parameter controls
to 1ust one track and saved them into your mi/ing
snapshots.
Jou could of course do this for as many tracks as you
wish.
0otice also that your F2 parameter controls will also be
displayed in the Track Control Panel 9see below=. Jou
might wish to consider using Track View screen sets to
make it easier for you to display and hide these as reAuired.
##!
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@ B SWS Sna!shots
Tutorial !art <
)n the final part of this tutorial you will be shown how to include envelopes with your snapshots, and how to
use different envelope settings with different snapshots. @e6ll take the e/ample of adding a little high end
sparkle to our reverb, varying the amount of this in our three different main mi/es.
This is another of those e/amples where the effects of your changes may be Auite subtle and will be most easily
discerned if you use headphones.
#. )f the file StayWith-e@> is not still open, open it. :pen the <@< <napshots window and make sure
Full Trac, -ix is selected in the Filter column.
!. Lake sure that Full Trac, -ix is selected in the Filter area, and that <elected Tracks :nly is not
enabled.
+. <elect the snapshot Full -ix 1.
-. <elect the Re4erb bus
9not either of the
individual reverb tracks=.
)nsert into its F2 chain an
instance of +S$
:)SER%Exciter. For the
sake of the e/ercise,
make the settings similar
to those shown
here9right=.
C. Click on the 3li! .oost control
with your mouse, then click on the
Para( button and choose Show
Trac, En4elo!e 9see right=.
E. The &/citer Clip Koost envelope will
now be displayed in your Lain
rrangement View.
,. dd a node to this envelope at
about ! min #" sec and another at
about ! min -, sec.
.. %aise the envelope segment after !
min -, so that it sits at !." dK. This will cause the fader to move slowly from # dK to ! dK over the +,
seconds between the two nodes.
D. Told 3trl while you click on Full -ix 1 to save this into the snapshot. Press 3trlJS to save the file
#". 0ow select Full -ix ". The &/citer and its envelope should disappear. @e can import it back into this
snapshot from Full Li/ #.
##. )n the Filter area of the <napshots window, select 3usto( and ensure that the only enabled filter is
FA 3hain. Lake sure that both Filter on Recall and Selecte& Trac,s )nly are enabled. Lake sure
that in the TCP and'or LCP the Re4erbs bus is selected.
#!. Click on Full -ix 1. The &/citer with its settings and envelopes will be added to your mi/.
#+. )n the <napshots window, select Full Trac, -ix and disable both Filter on %ecall and <elected Tracks
:nly.
#-. Told 3trl while you click on the te/t Full -ix ". This snapshot is now saved with the &/citer and its
envelope. <ave the file.
#C. Told Shift 3trl while dragging the first envelope node back to # min -" sec.
##+
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REAPER Plus! The Power of SWS Extensions 84 1..19
#E. %aise the last part of this envelope from ! dK to !.C dK.
#,. Told 3trl while clicking on the snapshot name Full -ix " to save the snapshot. <ave the file.
#.. Play the file, switching between the two snapshots Full -ix 1 and Full -ix ". s you do so, the
envelopes will change.
Ti!$ )f in the above tutorial you float the F2 window 9in this case the P:<&%'&/citer plug3in= and leave it open
and displayed when you save the snapshot changes, then that window will be recalled whenever the snapshot
is recalled.
@.>.@ Tutorial @$ Visibility Sna!shots an& Pro7ect 3han'es
)n this tutorial we will pick up from where we left off in Chapter , and address the Auestion of what to do when
more tracks are added to a pro1ect after you have created some visibility snapshots. Two <napshot window
features are important here. These are$
The Li&e Kew Trac,s on Vis Recall filter, and
The A&& Selecte& Trac,8s9 to Sna!shot command.
Contrary to what might seem intuitive, the safest way to handle this is to disable the option Li&e Kew Trac,s
on Vis Recall at first. This makes it easier for you to decide 1ust how you want to handle your new tracks.
Tutorial
#. :pen the file StayWith-e and save it as StayWith-e@>@.
!. :pen the <napshots @indow. Lake sure that Full Trac, -ix is selected, and that Li&e Kew Trac,s
on Vis Recall is not enabled.
+. For the sake of this e/ercise, double3click in the TCP 91ust below the last track to create a new track=.
Call this track Fi&&le. @e can pretend that e have recorded some material here.
-. <elect track ! 9Vo/ nne= and press 3trlJT to insert a new track immediately below it, 0ame this track
Vox Extra. <ave the file.
C. 0ow in the <napshots window, select the <napshot Vocals )nly. Koth of the new tracks are shown
together with those that you saved into this snapshot earlier.
E. @e want to add the new vocal track to this snapshot. <elect the new vocal track 9and only this track= in
the TCP or LCP.
,. %ight3click over Vocals )nly and choose A&& Selecte& Trac,8s9 to Sna!shot.
.. 0ow select the <napshot All Trac,s. @e want to add both our new tracks to this snapshot.
D. )n the TCP or LCP, select both the Vox Extra track and the Fi&&le track. %ight3click over All Trac,s
in the <napshots window and choose A&& Selecte& Trac,8s9 to Sna!shot.
#". 0ow you can enable the option Li&e Kew Trac,s on Vis Recall. <ave the file.
##. <elect your Vocals )nly snapshot. ll vocal tracks are shown including the new one, but no other
tracks are shown.
#!. <elect All Trac,s. ll tracks are shown.
#+. <elect Guitars )nly. :nly the guitar tracks are shown.
#-. <ave the file.
##-
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@ B SWS Sna!shots
@.>.= Tutorial =$ C(!ort%Ex!ort1 3o!y%Paste Sna!shots 8.asics9
This ne/t topic is Auite a comple/ one. s before, it will make more sense after you have worked thru a tutorial.
)n overview, however, there are a number of commands that you can use to copy snapshot settings from one
pro1ect into another. Jou have available two very similar options for achieving this end.
-etho& 3o((ents
3o!y Sna!shot
and
Paste Sna!shot
5se this if you wish to copy snapshot settings from one open pro1ect
into another open snapshot pro1ect.
Jou do not have to paste all settings into the destination pro1ect, nor do
you have to paste settings for all tracks.
Towever, for those tracks and settings which you do choose to paste,
the previous pro1ect settings will be overwritten.
Ex!ort Sna!shot 0
and
C(!ort Sna!shot ...
This pair of commands achieves e/actly the same ends as Copy
<napshot and Paste <napshot, but it does so using a .<@<<nap settings
file.
&/porting snapshots to file allows them to be later retrieved 9imported=
into other files which may not be currently open.
)n overview, the procedure for copying'pasting or e/porting'importing is as follows$
#. Display the <napshots window of the pro1ect containing the snapshot whose settings you wish to copy.
!. Choose the 3o!y Sna!shot or Ex!ort Sna!shot command. )f the latter, you will be prompted for a
file name.
+. Display the <napshots window for the pro1ect into which you want the snapshot settings pasted.
-. Depending on what you did at step !., choose either the Paste Sna!shot or C(!ort Sna!shot
command. )f the latter you will be prompted to select your .<@<<nap file. This causes the Sna!shot
Paste window to be displayed. n e/ample of this is shown below 9ne/t page=.
C. )n the Sna!shot Paste window you should do the following$
<elect those source tracks whose settings you want pasted into this pro1ects.
Latch each reAuired source track 9in the copy from file= to a destination track _in the paste to file=.
<pecify which snapshot filters you want to apply 9that is, which types of setting you want pasted
and which you do not=.
<pecify whether you want the snapshot pasted directly into the pro1ect itself, or as snapshot, or
both.
E. @hen your <napshot Paste settings are right, click on )H to complete the process.
This first tutorial will guide you thru the basics. Pater you6ll be shown a few more e/tra clever features8
Tutorial Part 1
)n the first part of the tutorial we will take a copy of one of the snapshots that we created earlier and paste part
of it it into another file. )n this case, we will be copying an pasting our vocals settings from one file into
another, creating a new snapshot.
#. :pen the file StayWith-e@> and save it s StayWith-e@>=1.
!. Create a new pro1ect window. )n this window open the file StayWith-e?? and save it as
StayWith-e@>=".
##C
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REAPER Plus! The Power of SWS Extensions 84 1..19
+. Display the <napshots window for StayWith-e@>=" and with Full Trac, -ix selected create a new
snapshot called Cnitial -ix. This is a good precaution to take.
-. <ave the file.
C. <elect the file StayWith-e@>=1 and in the <napshots window click on Full -ix ". %ight3click over
this and choose 3o!y Sna!shot.
E. <elect the file StayWith-e@>=", then select the <napshots window. %ight3click over the empty area
and choose Paste Sna!shot. This causes the <@< <napshot Paste window to be displayed.
,. @e only want to paste the snapshot data for the first five tracks. )n this window, click on track E then
hold Shift while clicking on the last track. This selects all tracks from track E onwards.
.. Click on the Re(o4e button to remove them from the display.
D. Complete your settings as shown below. ll filters are enabled, the data will be saved into a new
snapshot called Vocal FA but the pro1ect itself will not be updated with the changes.
##E
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@ B SWS Sna!shots
#". Click on )H. <ave the file.
##. Jou now have two
snapshots for this pro1ect ?
the Cnitial -ix and the
Vocal FA with the different
vocal settings. 0ote that
although we called the
snapshot Vocal F2, because
we applied all of the
available filters it does also
include all of the other
settings, such as Pan and Volume for the different tracks. Tad we wanted to paste only the F2 into our
destination pro1ect, we could have ticked only that filter.
#!. s you switch between your two snapshots you will see that the )nitial Li/ snapshot retains its original
settings for your vocals, whilst your new Vocal F2 snapshot uses all of the imported settings.
#+. )ncidentally, if you also included the Laster in your source and destination tracks 9as we did here=,
your master track settings will also have been copied and pasted from the one pro1ect to the other.
Tutorial Part "
)n the second part of this tutorial we will again take a copy of one of the snapshots that we created earlier and
paste a different part of it it into another file. )n this case, we will be copying an pasting our harmonica settings
from one file into another. This time, instead of creating a new snapshot we will paste the data only directly into
the pro1ect itself, not creating a special snapshot for it. This task is a little trickier than before, partly because
the track arrangement is not the same in both pro1ects.
#. )f the two pro1ect files StayWith-e>=1 and StayWith-e@>=" are not still open, open them both in
separate pro1ect tabs.
!. <elect StayWith-e@>=1 and from the <napshots window select this time Full -ix 1. %ight3click over
this and choose 3o!y Sna!shot.
+. <elect the pro1ect StayWith-e@>=". %ight3click in the <napshots window and choose Paste
Sna!shot.
-. )n the <napshot Paste window, remove all tracks e/cept the three shown here$
C. )f you study the <ource and Destination track list carefully you can see we have a problem. The tracks
don6t match up.
##,
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REAPER Plus! The Power of SWS Extensions 84 1..19
E. Kecause the destination file does not contain a Tarmonica ! track, the dialog bo/ suggests one for you.
)n this case its suggestion that we paste this information to our Vocals folder is obviously not what we
want.
,. %ight3click over the last item in the destination
column to display a conte/t menu. @e can choose
any other e/isting track as our destination track if
we wish, or none, or specify that we want the data
pasted to anew track. )n this case, Kew Trac, is
what we want.
.. Jou might have noticed that this same conte/t
menu includes an option to Exa(ine Trac,
Sna!shot. This can be Auite useful if you need to
check on e/actly what snapshot data is available
to be pasted 9see below right=.
D. This time, leave the filter and save
changes option e/actly as shown in the
screenshot on the previous page. @e will
not be creating a new snapshot in the
destination file.
#". Click on )H.
##. Jou should be able to see that the new
track ? Tarmonica ! ? has been pasted
into the destination pro1ect. Kecause it
has been added to the end of the
pro1ect, we have 1ust a little work to do.
#!. )n the TCP, drag and drop the
Tarmonica ! track up, so that it sits in
the :thers folder 1ust after Tarmonica #.
#+. To add the media item to the new
Tarmonica ! track you could 9in this
e/ample= copy and paste it either from the file StayWith-e@>;=1 or from the Tarmonica # track in
StayWith-e>;=".
#-. @hen you have done
this, save the file. )t
should now include the
tracks shown on the
right.
Kote$
@e have not yet looked at the 2elete Sna!shot command, so let6s 1ust mention it now. )t6s simple enough$ if
you right3click over any snapshot name and choose 2elete Pro7ect it will delete it from the current snapshot.
)f you do this, other snapshots will not be renumbered. For e/ample, if you have four snapshots numbered #, !,
+ and - and then delete snapshot + then you will be left with three snapshots, numbered #, ! and -.
This might seem strange at first, but it brings one significant benefit. )f you have any custom actions or
keyboard shortcuts allocated to recalling any snapshots by their snapshot number, then the integrity of those
actions will not be compromised.
##.
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@ B SWS Sna!shots
@.; The T3P 3ontext -enu
Lany of the <@< <napshot commands and actions are by default added to the TCP Conte/t menu. This can be
displayed by right3clicking over any track name or number in the TCP or LCP. :f course, you can also use the
menu customi7er to add any of the other available actions to this menu. )n addition to those commands that are
also available from the <@< <napshots @indow, you will find the following$
3o((an& Ex!lanation
A&& Selecte& Trac,s to All
Sna!shots
dds the track settings of all currently selected tracks 9applying
whatever filter settings are currently specified= to all snapshots in the
current pro1ect file.
2elete Selecte& Trac,s fro(
All Sna!shots
Deletes the track settings of all currently selected tracks 9applying
whatever filter settings are currently specified= from all snapshots in the
current pro1ect file.
3o!y new sna!shot 8selecte&
trac,s8s99
Copies a snapshot of the selected tracks to the clipboard 9using current
filter settings= without adding a snapshot to the current pro1ect.
3o!y new sna!shot 8all
trac,s8s99
Copies a snapshot of the all tracks to the clipboard 9using current filter
settings= without adding a snapshot to the current pro1ect.
This additional copy'paste functionality is especially useful if you have a group of track settings that you want to
copy and paste into other, e/isting pro1ects.
For e/ample, suppose that you have recorded a number of pro1ects with drum tracks, or a similar vocal
arrangement. Jou get your folder arrangements, panning, relative volume levels, F2 and so on 1ust right on one
track. 5sing 3o!y new sna!shot 8selecte& trac,s8s99 and Paste Sna!shot you are able to reproduce
those settings easily and Auickly on those same tracks in your other pro1ects, overwriting e/isting settings. Jou
can also do the same to set these tracks up on new pro1ects.
Pet6s look at one possible e/ample of this.
##D
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REAPER Plus! The Power of SWS Extensions 84 1..19
@.;.1 Tutorial 1#$ -ore 3o!y%Paste Sna!shot Functions
)n this e/ample we6ll say that we6re happy with our F2, Pan and <ends settings in the pro1ect file
StayWith-e@>=1 and that we wish to use them as the basis of a new song that we are going to record with
the same group. The new song, however, will not reAuire a harmonica.
Tutorial
#. :pen the file StayWith-e@>=1.
!. )n a new pro1ect tab, create a new pro1ect.
+. <elect the pro1ect StayWith-e@>=1. <elect the snapshot Full -ix ".
-. Choose the 3usto( Filter option and ensure that the only enabled filters are Pan, FA 3hain and
Sen&s.
C. )n the TCP, select all tracks
e/cept the folder )thers and the
two Lar(onica tracks. %ight
click over the track name or
number of any track in the
selection and choose SWS
Sna!shots1 3o!y new
sna!shot 8selecte& trac,s8s99.
E. <elect the new pro1ect.
,. &nsure that the <@< <napshots
window is open. %ight click over
this and choose Paste <napshot
9right=.
.. This causes the <@< <napshot Paste window to be displayed.
D. 0otice that the software has enough intelligence to work out for you that you will need a new track for
each item. )t also remembers that you are only pasting pan settings. F2 chains and sends.
#". Click on )H and your pro1ect is there, all set up for you. Jou could, of course, now save this as a new
pro1ect file.
Kote$ t present, track groups and track group settings are not included with <@< <napshot data.
#!"
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@ B SWS Sna!shots
@.;." The Paste Sna!shot DCntelli'enceE
Kefore leaving this topic, let6s take a summary look at how the SWS Paste Sna!shot window goes about
matching tracks from the source pro1ect with tracks in the destination pro1ect. )f both pro1ects have identical
track structures with the same track names and track numbers, in the same order, then of course there will be
no problem. The software will find a perfect match. @hen a perfect match is not possible, the paste snapshot
function turns to a set of four rules. These rules are listed below in order of the priority with which they will be
applied.
#. )f the track numbers of source tracks match perfectly the numbers of the selected destination tracks
then these will be used. )f not U
!. The program will attempt
to match tracks by any
track )D or track name.
The )D is an internal
identifier stored in the
.%PP file 9see below=
which never changes,
even if a track is
renamed or moved to a
different position in the
track order.
+. )f there are then still any
source tracks left
unmatched then tentative
destination tracks will be
picked in order from the
destination pro1ect.
-. )f the destination pro1ect
does not contain any tracks, the track destination will be set to 9create new=.
:f course you can change any of these manually if needs be.
Two final points to understand are these.
#. Jou are not able to paste snapshot data from more than one source track to the same destination track,
because to attempt to do so would
create two or more mutually
contradicting actions. )f you
attempt to do this an error
message will be displayed.
)n cases such as this, nothing will
be pasted into that particular
destination track, but the other
destination tracks will still be
updated with their snapshot data.
!. Jou can, however, paste
snapshot data from one source
track to several destination track.
<imply add the reAuired number of
tracks to the destination column
and right click to ensure the
correct tracks are selected. <hown 9above= is this techniAue being used to copy the same snapshot settings
from a vocal track in one pro1ect to four vocal tracks in a different pro1ect.
#!#
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@.? Ex!ortin' an& C(!ortin' Sna!shots$ A 3ase Stu&y
Tere6s a real life case study where the ability to e/port and import snapshots comes into its own. )n this
e/ample, we have an album pro1ect consisting of some #C songs, with the same drumkit and the same
drummer recorded on all #C. The drums folder with its child tracks 9and nothing else= are selected.
)n this case, we are able to set up our drum mi/ for one song ? panning, volume levels, F2, sidechaining, etc.
and save the entire drum folder as a snapshot. 0otice that both Full Trac, -ix and Selecte& Trac,s )nly
have been enabled. Ky right3clicking over the snapshot name we are able to e/port it to a .<@<<nap file .
@e can then open any other pro1ect file in this collection, display the <@< <napshots window and use the
C(!ort Sna!shot command to import our Drums <ean template.
Kecause the tracks are given identical or similar names in all of the pro1ects, the software finds the correct
tracks for us in the current pro1ect. Tey presto, instant drum mi/8 @ell, almost8
0otice that when you do this, your original drum track settings will be overwritten with the imported ones. )f
you wish to be able to easily restore them at some later time then you should preferably save these as a
snapshot before importing the .<@<<nap file. Jou can also use the 5ndo Tistory for this.
#!!
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@ B SWS Sna!shots
@. SWS Sna!shot 3usto( Actions
The available <@< Li/ing <napshot actions are listed in Chapter #!. )n particular, you might wish to consider
assigning a keyboard shortcut or toolbar icon to SWS$ )!en Sna!shot Win&ow.
The actions SWS$ Recall Sna!shot 1 thru SWS$ Recall Sna!shot n are self e/planatory 9where n will be #"
or the highest snapshot number in the current pro1ect file, whichever is the greater=. They can be assigned to
shortcut keys to recall your snapshots even when the <napshots window is closed or not visible.
Jou also might wish to consider making some snapshot custom action macros.
For e/ample, suppose that you often need to create a snapshot containing all F2 settings for a pro1ect, or all
volume or pan settings. These tasks could be automated by macros similar to these$
FA Settin's Sna!shot -acro
<@<$ <ave current snapshot filter options
<@<$ Clear all snapshot filter options
<@<$ Toggle snapshot f/
<@<$ 0ew snapshot and edit name
<@<$ restore snapshot filter options
Volu(e Settin's Sna!shot -acro
<@<$ <ave current snapshot filter options
<@<$ Clear all snapshot filter options
<@<$ Toggle snapshot vol
<@<$ 0ew snapshot and edit name
<@<$ restore snapshot filter options
Pan Settin's Sna!shot -acro
<@<$ <ave current snapshot filter options
<@<$ Clear all snapshot filter options
<@<$ Toggle snapshot pan
<@<$ 0ew snapshot and edit name
<@<$ restore snapshot filter options
Jou could at any time run either of those macros in any pro1ect to create separate snapshots of your F2,
volume and pan settings, without disturbing whatever filter options you had selected at the time the macros
were e/ecuted.
#!+
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#!-
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= B SWS -e&ia Pool
= SWS -e&ia Pool
t the time of writing, the <@< Ledia Pool module is not yet fully developed, and some features 9such as Play=
are still to be implemented. Kecause of this, this chapter will cover the topic in overview only. This should give
you more than enough information for you to start creating and working with your own media pool.
=.1 SWS -e&ia Pool )4er4iew
The purpose of a media pool, as its name implies, is to give you a one3stop center where you have easy access
to those media files that you are likely to use the most, both within any particular pro1ect and within %&P&% in
general. For e/ample, you might have a collection of drum or bass samples that you like to use when you are
building your pro1ects. Jou might also have a set of 9say= guitar samples that are suited for use with one
particular pro1ect. )n circumstances such as these you are likely to find the <@< Ledia Pool useful.
The media pool is used to organi7e your samples into Grou!s. There are three main types of groups. These are
as Pro7ect, Global,and :ocal. Pro1ect groups are automatically generated by the system. The other two are
user created and user defined.
Grou! Ty!e Ex!lanation
Pro7ect
The pro1ect group displays a list of all media files currently in use in
whichever %&P&% pro1ect is currently open and has focus. The number
of times each file is used in the pro1ect is indicated in the Y column.
Pro1ect group is automatically generated when a pro1ect is created.
For e/ample, if you work with three pro1ects open in three pro1ect tabs,
and with the <@< Ledia Pool open, then the Pro1ect group of the Ledia
Pool will always list the media files for whichever of the three pro1ects
currently has focus. s you switch between the different pro1ect tabs,
the contents of the Pro1ect group in the Ledia Pool window will change.
Global
@hen a user created group is defined as Blobal then all of the media
files contained in that group are automatically listed and made available
to every %&P&% pro1ect. Blobal group information 9such as group name
and a list of the files it contains= are stored in a file
swsF(e&ia!ool.txt which can be found in the same directory as your
rea!er.ini file.
:ocal
@hen a user created group is defined as Pocal then the group itself and
all of the media files that it contains are only displayed and only
available when the individual %&P&% pro1ect for which the group was
created has focus. )nformation about local groups 9such as group names
and the list of files it contains= are stored with the pro1ect in its .%PP file.
The <@< Ledia Pool window consists of two panes ? a Grou!s pane and a Files pane.
The Grou!s pane lists all global groups, together with any local groups that belong to the current pro1ect.
These will include the Pro1ect group that is automatically created for you and any groups that you have created
yourself. s with other <@< windows, you can click on any column header to sort the list of groups. )f you are
creating a new pro1ect file then the Pro1ect group will be initially empty.
The Files pane displays a list of all files contained in the currently selected group. Path and file name
information is displayed, together with a column called Action. @e6ll get to what that does shortly, but in brief
it is a Auick method of adding to the ction Pist an action for adding particular files to a pro1ect. Jou can then
assign keyboard shortcuts to these actions.
#!C
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=." *sin' the SWS -e&ia Pool
To open the <@< Ledia Pool, use the View1 SWS -e&ia Pool command. :f course you can assign a keyboard
shortcut to this if you wish. @hen you open the media pool, the display will be similar to that shown above.
The very first time that you open it, the only group present will be the Pro1ect group, and by default this will be
selected. The Files pane will list all media files contained in that group.
)f you keep the <@< Ledia Pool open while you close and open different flies 9or switch between files open on
different pro1ect tabs= then each time you select a different file to work with the Ledia Pool Files pane will
display the media items for that file.
The following table summari7es what you can do in the media pool and how it is done.
Acti4ity Ex!lanation
To a&& a 'rou!
Click on the dd Broup button. Jou will be prompted to give the group a
name. Type the name and press Enter.
5se the dot in the Global column to make this group local or global.
Clicking on this dot toggles between these two group types. )n the
e/ample shown below, two groups have been added, one called
Percussion and the other Guitars. The Percussion group is global, the
Buitars group is local. The " displayed against each group name
indicates that neither of these groups yet includes and media files.
Jou can change the status of groups from Blobal to Pocal and vice versa
at any time.
#!E
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= B SWS -e&ia Pool
Acti4ity Ex!lanation
To a&& files to a 'rou!
First select the reAuired group in the Broups pane. Then use any of the
following methods$
Click on the A&& Files button to open the <elect Files window. This
window e/hibits the characteristics of a normal &/plorer window.
0avigate to the reAuired folder, click on the reAuired file name 9or use
3trl click to build up a list= and click on )!en, or
:pen the %&P&% Ledia &/plorer. Lake your selection of files there,
then drag and drop to the Files pane of the <@< Ledia Pool window, or
Lake your selection of files outside of %&P&% altogether 9for e/ample,
in a @indows &/plorer window= and drag and drop from there to the
Files pane of the <@< Ledia Pool window, or
Lake your selection in another D@ or other application 9such as
Cakewalk <:0%6s Poop &/plorer= and drag and drop from there to the
Files pane of the <@< Ledia Pool window.
0ote that$
Files from different folders and 9if you have multiple hard disks=
different drives can be stored together within a group.
The same file can be placed in more than one group if you
wish.
Jou cannot add a file directly to Pro1ect group within the Ledia
Pool window. To do this, you must add the file directly to the
pro1ect itself in the rrangement View window.
)n the e/ample shown below, our Percussion group now contains
eighteen items and our Buitars group five items.
To show%hi&e colu(ns in
either !ane
s with other <@< windows, the column headers conte/t menu can be
used to determine which columns are displayed.
To sort the Grou!s or Files
list
Click on any column header to use that column to sort the group or file
list. Clicking a second time reverses the sort order.
To &elete a file fro( a 'rou!
)n the Files pane, click on the File name and press 2elete. This only
removes the file from the group, not from your hard disk.
0ote that you cannot delete a file directly from the Pro1ect group in the
Ledia Pool. To do this, you must delete the file from the rrangement
View of the pro1ect itself.
#!,
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Acti4ity Ex!lanation
To au&ition any file in the
(e&ia !ool
<elect the file in the file list and click on the Play button.
To create an action for any
file in the (e&ia !ool
To create an action for any media pool item, simply enable the ction
option for that item by clicking on its dot in the ction column.
<hown below is our Percussion group 9listed alphabetically by file name=
with actions assigned to seven of the items.
To assi'n shortcut ,eys to
(e&ia !ool actions
This is done in the same way as you would if you were assigning keys to
any other actions. :pen the ctions list, select the reAuired action,then
click on A&& to define the reAuired keystrokes. <ee below.
#!.
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= B SWS -e&ia Pool
Acti4ity Ex!lanation
To insert a file fro( the
(e&ia !ool into the current
!ro7ect
5se any of the following methods$
Drag and drop from the media pool into the pro1ect6s arrangement
window. This method has the advantage of allowing you to place the
media item e/actly where you wish, or
Double3click on the name of the media item in the media pool. This will
insert the item into the currently selected track at the current edit cursor
position, or
5se the keyboard shortcut 9if you have assigned one=. This too will
insert the item into the currently selected track at the current edit cursor
position ? but see note below.
Kote$ )f you assign a keyboard shortcut to an action for inserting into a
pro1ect any item from a global group, then that shortcut will always
behave in the same way. For e/ample, in the illustration shown on the
previous page, the keys AltJH will always insert the media file
Hic,1.wa4, regardless of which pro1ect file is open.
)f, however, you assign a keyboard shortcut to an action to insert an
item from a local media pool folder, then that action will only work with
that media item when that pro1ect is open and has focus. @hen a
different pro1ect file is in use, it is possible that that keystroke
combination could insert a different file.
)f you are in doubt about this, your safest option is to restrict the use of
media pool keyboard shortcuts to items in global groups only.
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1# B SWS Rea3onsole
1# SWS Rea3onsole
The SWS Rea3onsole is opened by choosing the
View1 SWS Rea3onsole command from the main
%&P&% window, or by pressing the default keyboard
shortcut, 3.
The first thing that you notice about %eaConsole is
that there really isn6t very much to notice 9right=. ll
there is to see is an absurdly simple dialog bo/ with
1ust one edit line and a solitary prompt H&nter a
command.I
Jou could be forgiven for thinking H0ot much happening hereI, closing it and moving on without giving it
another thought. Jou could be forgiven, but at the same time you6d have no idea of what you were missing
1#.1 Cntro&ucin' Rea3onsole
@hat can you use %eaConsole for(
)t would probably be easier and Auicker to say what you can6t use %eaConsole for. )n essence it is a complete
and comprehensive track management tool. Tere are some of its applications and uses. Jou can use it as a very
fle/ible and responsive one3stop center for selecting tracks, soloing and muting tracks, ad1usting their pan
and'or volume settings, arming tracks for recording, assigning inputs and more. Jou can even rename tracks,
create multiple track channels, and change track colors ? all from within that harmless looking interface.
Kefore e/ploring the many capabilities of %eaConsole in depth, let6s have a very Auick look at it to see how it
works. s you might have guessed, %eaConsole is very different from the other <@< modules. )nstead of being
driven by conte/t menus, option buttons and the like, it works by accepting short and simple commands that
you type in to its edit bo/. )n overview, you do this$
5se the command View1 SWS Rea3onsole or the default keyboard shortcut 3 to open %eaConsole.
Type your command in the edit bo/.
Press Enter to e/ecute the command and close %eaConsole, or 3trlJEnter to e/ecute the command
and keep %eaConsole open.
Press Esc to close %eaConsole at any time.
0ote that while %eaConsole remains open it will take control of your PC keyboard. For e/ample, by default in
%&P&%6s arrangement view the letter V will normally toggle the display of a track6s Volume envelope. @ith
%eaConsole open, however, that same letter V will represent %eaConsole6s Volume command.
Tutorial
Pet6s start with 1ust a couple of e/amples to help you see how %eaConsole works. For this first tutorial, please
keep to these simple e/amples. @e6ll e/plore its more sophisticated capabilities in more detail later.
#. :pen the file StayWith-e@> and save it as
StayWith-e1#1
!. Play the song from the beginning.
+. :pen the <@< <napshots @indow. Lake sure
Full Trac, -ix is enabled and select Full -ix ".
-. :pen %eaConsole.
C. The command for toggle mute is simply the letter ( followed by the number9s= of the track9s= to be
muted. )t is important to use lower case here. @hen you type a command, a help message is displayed
and updated in real time beneath the edit bo/ 9see above=.
#+#
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E. Pet6s see how this sounds without the vocal delay added. Type$ ( <1> and notice the message that is
displayed 9see e/ample above=. Press 3trlJEnter. These tracks are muted.
,. Check the track numbers for your two reverb tracks. ssuming these are #C and #E, type ( 1;11? and
press 3trlJEnter. The %everb tracks will also now be muted.
.. 0ow type ( <1>11;11? and press 3trlJEnter.
ll four tracks are unmuted.
D. To now select the %everb tracks, type s1;11?
3trlJEnter.
#". To increase the volume of both %everb tracks by !
decibels, type 4" 3trlJEnter 9in this e/ample it
is important that you use the lower case letter v=.
##. To close %eaConsole, press Esc.
#!. 0ow switch to the <@< <napshots window and make sure Full Trac, -ix is selected.
#+. Click on Kew to create a new snapshot. Call it Fill -ix " Extra Re4erb.
#-. <ave the file.
1#." Rea3onsole 3o((an& Su((ary
The table below summari7es the available %eaConsole commands together with e/amples of how they might be
used. 0otice that some %eaConsole command letters 9for e/ample, p and v= have different meanings
depending on whether they are typed in lower case or upper case. <ome other factors to keep in mind are$
Tracks can be referenced by either their number, their name, or part of their name. The table include
several e/amples of this.
The use of spaces in %eaConsole commands is in most cases significant. )f in doubt, follow the method
used in these e/amples.
%eaConsole commands use a single character followed by its parameters, which may or may not
include track names or numbers.
)f you choose not to specify a track name or number, the action will be applied to the current track
selection. For e/ample, the command 4" will increase the volume of all tracks currently selected by !
dK. )f no track is currently selected, this command will have no effect. Ke careful here. For e/ample, if
you accidentally enter 4"", the volume of all selected tracks will be increased by !! dK8
)f you do use a track name or number, the command will be applied to that track. For e/ample, the
command 4> " will increase the volume of track - by ! dK. There are plenty of e/amples of this type in
the table below.
)f you specify a selection of tracks, then the command will be applied to all tracks in the selection. For
e/ample, the command 4"1;1 " will increase the
volume of tracks !, C and , by ! dK.
The messages displayed in the %eaConsole
window are there to help you. 5se them to
confirm that your command is being interpreted
as you wish it to be 9see e/ample, right=.
@here a command invokes a toggle action 9such
as solo or mute= you can use it in any of three
main ways. Ky itself, the command letter will act as a toggle. Preceded by a ^ 9plus= it will force the
action to be enabled. Preceded by a ? 9minus= it will force it to be disabled. For e/ample, you could use
m, ^m or 3m to toggle mute, enable mute, or disable mute on a particular track selection.
#+!
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1# B SWS Rea3onsole
3o((an& Pur!ose Exa(!le8s9
s Toggle select tracks s" Toggle select track !
s"1<1? Toggle select tracks !, + and E
s<1;1=B1" Toggle select tracks +, C and D thru #!
s 'uitZ Toggle select all tracks whose names begin guit
s Z4erb Toggle select all tracks whose names end verb
s bass Toggle select tracks named e/actly Kass
s (an&Z1ban7ZToggle select tracks whose names begin with
mand or ban1
4
9lower case=
)ncrease'decrease
volume of selected or
specified tracks
4" )ncrease volume of selected tracks by ! dK
41.@ )ncrease volume of selected tracks by #.. dK
4B< Decrease volume of selected tracks by + dK
4" < )ncrease volume of track ! by + dK
4<1;B " )ncrease volume of tracks + and C thru , by ! dK
44oxZ B".; Power the volume of all tracks whose names begin
with vo/ by !.C dK
V
9upper
case=
<et volume of
selected or specified
tracks
VB; <et volume of selected tracks to 3C dK
V# <et volume of selected tracks to " dK
VZ4erb B" <et volume of all tracks whose names end in
verb to 3! dK
VB= # <et volume of tracks , thru D to " dK
V"1;1@ B1 <et volume of tracks !, C and . to 3# dK
!
9lower case=
d1ust panning of
selected track9s= or
specified tracks
!1# Pan selected tracks #"Y further right
!B; Pan selected tracks CY further left.
!'uitZ 1; Pan all tracks whose name begins with guit #CY
further right
!1"11< B@ Pan tracks #! and #+ .Y further left
P
9upper
case=
<et pan position of
selected track9s= or
specified tracks
P;# <et pan for currently selected tracks at C"Y right
PB1# <et pan for currently selected tracks at #"Y left
Pban7o "< <et pan for any track called ban1o at !+Y right
P1" B<< <et pan for track #! to ++Y left.
o
9lower case=
Toggle solo status for
selected track9s= or
specified tracks
o Toggle solo status for currently selected tracks
Jo &nable solo for currently selected tracks
oB1# Toggle solo status for tracks , thru #"
o?111111" Toggle solo status for tracks E, ,, ## and #!
o4oxZ Toggle solo status for all tracks whose name begins
with vo/
Jo4oxZ &nable solo on all tracks whose name begins with
vo/
BoZanne Disable solo on all tracks whose name ends with
anne
The )nverted Track <election feature can be especially useful when
used with the o command$ see dvanced %eaConsole Features.
#++
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3o((an& Pur!ose Exa(!le8s9
)
9upper
case=
&/clusive solo
selected track9s= or
specified tracks.
)@ <olo track .. Disable solo on all others.
)4oxZ <olo all tracks whose name begins with vo/.
Disable solo on all others
)4oxZ1'uitZ &/clusive solo all tracks whose name begins with
vo/ or guit
( Toggle mute status
for selected track9s=
or specified tracks
( Toggle mute status for currently selected tracks.
B( Disable mute status on currently selected tracks
J(&ru(Z &nable mute on all tracks whose name starts drum
The )nverted Track <election feature can be especially useful when
used with the ( command$ see dvanced %eaConsole Features.
-
9upper
case=
&/clusive mute
selected track9s= or
specified tracks.
- Lute all currently selected tracks, disable mute on
all others
-4oxZ Lute all tracks whose name begins with vo/,
disable mute on all others.
-<1>1 Lute tracks +, - and ,, disable mute on all others
-&ruZ1!ercZ &/clusive mute all tracks whose names begin with
dru or perc
a
9lower case=
Toggle record arm
status for selected
track9s= or specified
tracks
a"1< Toggle arm tracks ! and + ready for recording.
Ja"1< %ecord arm enable tracks ! and +
Ba4oxZ %ecord arm disable all tracks whose name begins
with vo/
BaZ %ecord arm disable all tracks
JaZ %ecord arm enable all tracks
a'uitarZ %ecord arm toggle all tracks whose name begins
with guitar
A
9upper
case=
&/clusive record arm
selected track9s= or
specified tracks
A;B@ %ecord arm tracks C thru ., unarm all others.
A&ru(Z %ecord arm all tracks whose name begins with
drum, unarm all others
A@ %ecord arm track ., unarm all others.
i <et record input
5ses s, 9stereo=, B
9increment= and (
9midi= as parameters
i" < <et input for track ! to input +
i" <s <et input for track to to paired stereo input +'-
isynth >( <et input for any track named synth to L)D)
channel -
i1B@ 1B <ets inputs on tracks # to . incrementally starting
with input #. Track ! is set to input !, track + to
input +, and so on.
h
9lower case=
Toggle phase status
for selected track9s=
or specified tracks
h> Flip phase on track -
h11<1@ Flip phase on tracks #, + and .
L
9upper
case=
<et e/clusive phase
status for selected
track9s= or specified
tracks
L )nvert phase only on track ,
L1B> )nvert phase only on tracks # thru -
L'uitZ )nvert phase only on all tracks with guit in their
name
#+-
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1# B SWS Rea3onsole
3o((an& Pur!ose Exa(!le8s9
f
9lower case=
Toggle F2 enable
status for selected
track9s= or specified
tracks
f; Toggle F2 bypass on track C
f?1@111 Toggle F2 bypass on tracks E, . and ##
Bf4oxZ <et F2 to bypass 9disable= for all tracks whose
names begin with vo/
Jf4oxZ &nable F2 for all tracks whose names begin vo/
fZ Toggle F2 bypass on all tracks e/cept the master.
F
9upper
case=
<et e/clusive F2
enable status for
selected track9s= or
specified tracks
F<B? &nable F2 on tracks + thru E only
F&ru(Z &nable F2 only on those tracks whose names
begin with drum
F4oxZ1har(Z &nable F2 only on those tracks whose names
begin with vo/ or harm
n <et track name This command replaces the old name with the new name.
n? Guitar -ix %enames track E as Buitar Li/
nVocals Vox %enames track currently called Vocals as Vo/
b Prefi/ track name This command inserts a te/t string at the beginning of the e/isting
track name. &/ample$
b'uitZ Acoustic
This command inserts the word coustic at the
beginning of all tracks whose name currently begins
with guit. The search thing is not case3sensitive,
but the append string is. For e/ample$
Buitar # Lat will become coustic Buitar # Lat
/ <uffi/ track name This command inserts a te/t string at the end of the e/isting track
name. &/ample$
/4oxZ T< This commands inserts the te/t T+ 9the microphone
used= at the end of the track name of every track
whose name begins with vo/. For e/ample$
Vo/ nne will become Vo/ nne T+
c <et track color This command sets the color of the selected or specified track9s= to a
color, either from the custom color set or as specified by name.
&/amples$
c4oxZ 1" Changes the color of all tracks whose names begin
with vo/ to custom color #!. <ee Chapter E for
more information about custom colors.
cB1# 'reen Changes color of tracks , thru #" to green.
3#xc##cc <et selected tracks to specified he/ color 9in this
e/ample, purple=
! dd action marker at
edit cursor. 0ote the
synta/ used.
!>#1" )nserts at the current play cursor position a marker
with the instruction to go back to the previous
marker. <ee Chapter E 9section !.E= for more
information about action markers 9also known
as smart markers=.
%eaConsole6s Custom Commands feature 9see dvanced %eaConsole
Features= can be used with ! commands to enable you to assign and
use keystrokes to create action markers whenever you wish.
#+C
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1#.< Hnown Cssues an& :i(itations
@hen working with %eaConsole you should be aware of the following$
For solo commands, solo3in3place is always assumed, even if you have this turned off in your %&P&%
preferences.
Track names are always matched case3insensitive.
Track names with strictly numerical names or which contain special characters such as the asterisk 9_=,
slash 9'=, comma 9,= or semi3colon 9]= cannot be reliably referenced by name.
%eaConsole6s command shortcuts above are not configurable, other than by assigning actions as listed
at the end of this chapter.
Tutorial
)n this tutorial you6ll be shown how to dig deeper into using %eaConsole6s capabilities.
#. )f the file StayWith-e1#1 is not still open, open it. <ave it as StayWith-e1#".
!. <elect the snapshot Full Li/ ! &/tra %everb.
+. For the purpose of this e/ample, loop the area from appro/ ! min !" sec to + min +E sec and
commence playback.
-. Display %eaConsole.
C. To hear only the main vocal tracks type$ o11"1; 3trlJEnter
E. 0ow to hear also the delayed vocals type$ o<1> 3trlJEnter
,. To toggle the delay tracks on and off press 3trlJEnter several times.
.. @ith all five vocal tracks displayed, type$ o4ox4erb 3trlJEnter
D. Jou should now hear the vocal tracks with reverb added. 0ow type fZ 3trlJEnter
#". This will toggle F2 enable on and off. Press 3trlJEnter several times to compare how the vocals
sound with and without their track F2.
##. Lake your F2 enabled when you have finished
dong this.
#!. Pet6s now suppose we 1ust want to hear the vocal
delay on its own. Type )<1> followed by
3trlJEnter.
#+. Pet6s lower the volume on these delay tracks.
Type 4<1> B" then 3trlJEnter.
#-. 0ow to remove solo all together, type BoZ followed by
3trlJEnter.
#C. Pet6s say we like this mi/. Press Esc to close %eaConsole. )n
the <napshots window hold 3trl while clicking on Full -ix "
Extra Re4erb. %ight click over the name and rename it Full
-ix " Extra Re4erb :ess 2elay.
#E. 0ow let6s try something else. :pen %eaConsole.
#,. Type$ b'uitZ Acoustic 9see above right= then press Enter.
0otice how the guitar tracks are renamed.
#.. <ave the file.
#+E
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1# B SWS Rea3onsole
1#.> A&4ance& Rea3onsole Features
)n this page we will e/plore some of the less obvious and more advanced features of %eaConsole, including$
The utoComplete feature.
The Folder'Child feature.
)nverted Track <election.
Creating and using %eaConsole custom commands.
Feature Ex!lanation
Auto3o(!lete
)n some circumstances you can abbreviate track names without the use of wild cards.
For e/ample, if you have a track'bus called %everb, and that is the only track whose
name begins with %, then you could type )r 3trlJEnter to e/clusively solo that track.
Fol&er%3hil&
5se the % character after any folder name to apply a %eaConsole command to a folder
track and all its children. For e/ample$
c'uitars% blue 3trlJEnter will change the track color to blue for a folder called Buitars
and all of its child tracks.
Cn4erte& Trac,
Selection
The ! character can be used to apply a command to every track e/cept that 9or those=
specified. )t must be placed immediately after the command )D For e/ample$
(!4ocZ 3trlJEnter will toggle mute of all tracks e/cept those whose name begin with
the letters Voc.
-!"B> 3trlJEnter will toggle mute of all tracks e/cept tracks !, + and -.
3usto(
3o((an&s
te/t file reaconsoleFcusto(co((an&s.txt 9stored at the same location as
rea!er.ini= can be used to store any %eaConsole custom commands that you create.
Jou can create or open this file manually, or 9if using the PC version of %&P&%= by
running the action SWS$ E&it console custo( co((an&s.
The first time that you run this action you will be told that the file does not e/ist and
asked if you wish to create it. Click on Ues to open 0otepad with this file created. fter
adding your commands, save the file. The commands will be available ne/t time you
start %&P&%. They will appear in the ctions list and can therefore be assigned
keyboard shortcuts, to menus, and'or to toolbars, to be used with any pro1ect files. For
e/ample, suppose that to your command file you added these two lines$
:vo_
:gui_
Jou would then find that
when you restart %&P&%
these actions will be
available to you to solo
e/clusive respectively all
tracks whose names begin with Vo or all tracks whose names begin with Bui. These
commands could, of course, be included in your custom action macros.
nother powerful use for custom commands is for creating command markers. <tore
these in your reaconsoleFcusto(co((an&s.txt file and you will be able to use
keyboard shortcuts to create action markers on the fly.
Jou should understand that keys are bound to the line number in the file, not the actual
te/t. @hen adding new commands you should always place them at the end of this file.
To be on the safe side, you are also advised to avoid deleting e/isting ones.
#+,
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REAPER Plus! The Power of SWS Extensions 84 1..19
1#.; SWS 3onsole Actions
The following can be assigned as keyboard shortcuts. For e/ample, if you assign the letter o to SWS$ )!en
console with QoQ to solo trac,8s9, then pressing the letter o in arrangement view or mi/er view will cause
%eaConsole to be opened with the letter o already typed into it$ you would then need only to type for yourself
the numbers of the tracks that you want soloed.
<@<$ :pen console
<@<$ :pen console and copy keystroke
<@<$ :pen console with 686 to add action marker
<@<$ :pen console with 6P6 to set track9s= pan
<@<$ :pen console with 6<6 to select track9s=
<@<$ :pen console with 6V6 to set track9s= volume
<@<$ :pen console with 6a6 to arm track9s=
<@<$ :pen console with 6b6 to prefi/ track9s=
<@<$ :pen console with 6c6 to color track9s=
<@<$ :pen console with 6f6 to toggle F2 enable
<@<$ :pen console with 6h6 to flip phase on track9s=
<@<$ :pen console with 6i6 to set track9s= input
<@<$ :pen console with 6l6 to set track9s= X channels
<@<$ :pen console with 6m6 to mute track9s=
<@<$ :pen console with 6n6 to name track9s=
<@<$ :pen console with 6o6 to solo track9s=
<@<$ :pen console with 6p6 to trim pan on track9s=
<@<$ :pen console with 6v6 to trim volume on track9s=
<@<$ :pen console with 676 to suffi/ track9s=
#+.
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11 B -ore Exa(!les of 3usto( Actions
11 -ore Exa(!les of 3usto( Actions
)n this final chapter we6ll look at some more e/amples of how some of the <@< and other actions can be
chained together to create useful macros. s in earlier chapters, the main purpose of these e/amples is to help
you to develop your own ideas and to create your own macros. )f you find that the actual e/amples used here
are useful to you as well U well, that6s a bonus8
11.1 FA -ana'e(ent -acros
&verybody works with plug3ins and F2. Take some time to identify those tasks that you find yourself freAuently
repeating. That6s where macros might be able to help you. Tere are some e/amples.
11.1.1 3o!y Cte( FA to )ther Cte(s in Trac,
Consider a situation in which a track is made up of a number of media items. Jou might have e/perimented
with creating a chain of F2 in one of these items 9in the e/ample shown below, the second item from the left=,
and now you want to copy those effects to all of the other media items on that track.
The following macro will do this for you. <imply select the item where the F2 have already been inserted and
run this macro$
<@<$ <ave selected item9s=
<@<'<GL$ Copy F2 chain from selected item
)tem$ <elect all items in selected tracks
<@<'<GL$ Paste F2 chain to selected item9s=
<@<$ %estore saved selected item9s=
Jou would most likely want to enable the option to Consolidate 5ndo Points with this macro.
<ome interesting points to note here are$
#. fter you run this macro, the originally selected item will be selected again.
!. Jou can then, of course, open the F2 chain for any of the media items and make changes, for e/ample
to add further effects, or to ad1ust the parameters of the e/isting effects.
+. This macro can also be used to remove all effects from all media items in a track. <imply remove the
effects from one item, select it, and run the macro.
11.1." To''le FA .y!ass of Selecte& Fol&ers !lus 3hil&ren
)t will often be likely that when you toggle the F2 chain status of a folder between enabled and bypassed then
you will want the effects in the child tracks to also be toggled at the same time. :ne way of doing this is to
manually keep selecting and deselecting the folder with all of its child tracks, but that can be tedious and time
consuming. nother way is to use this macro 9kindly supplied by &vil Dragon=$
<@<$ <ave current track selection
<@<$ <elect children of selected folder track9s=
<@<$ Toggle F2 bypass for selected track9s=
<@<$ %estore track selection
gain, you would most likely want to enable the option to Consolidate 5ndo Points with this macro.
#+D
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11.1.< Cn&i4i&ual FA .y!ass To''le
Betting your F2 parameter settings 1ust right can take time, the more so if you have a number of effects
chained in a track or media item. The following macro can make it easier to compare alternate chains with
different settings for the same series of F2$
<@<'<GL$ Toggle F2# bypass for selected track9s=
<@<'<GL$ Toggle F2! bypass for selected track9s=
<@<'<GL$ Toggle F2+ bypass for selected track9s=
<@<'<GL$ Toggle F2- bypass for selected track9s=
<@<'<GL$ Toggle F2C bypass for selected track9s=
<@<'<GL$ Toggle F2E bypass for selected track9s=
<@<'<GL$ Toggle F2, bypass for selected track9s=
<@<'<GL$ Toggle F2. bypass for selected track9s=
gain, you would most likely want to enable the option to Consolidate 5ndo Points with this macro.
The illustration on the right illustrates one e/ample of how
this can be used.
)n this case there are two instances each of %ea&>,
%eaDelay and %eaComp. The first instance of each of these
is currently set to bypass, whilst the second is enabled.
%unning this macro would toggle between the two sets of
effects alternately enabling one set whilst bypassing the
other.
nother e/ample when you might wish to use a macro
such as this could be to compare two completely different
F2 chains on the same track or item. Jou would 1ust need
to place both sets of effects in the track or item6s F2 chain
9first all the effects in the first chain, then the second=, and
set all of the effects in one of the chains to bypass. This
macro would then toggle between alternately enabling one
chain while bypassing the other.
0otice that you do not need to have as many as eight
effects in a track or item6s F2 chain in order to be able to
use this macro. )f you have fewer than eight, the surplus
commands are 1ust ignored.
#-"
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11 B -ore Exa(!les of 3usto( Actions
11." Trac, Free/e%*nfree/e -acros
Track free7e macros can be used to apply effects to track9s= or item9s= so as to free up computer resources
such as CP5. 5nfree7e macros reverse this process, allowing you to make ad1ustments to your original effects
and their parameters. Jou6ll find several e/amples and much discussion about this on the %&P&% forums.
lot of thought needs to be put into creating free7e and unfree7e macros. Jour needs may vary, for e/ample,
according to whether or not you have free item positioning enabled, whether you are working with multiple
takes, whether your tracks have been built from different sections of different takes, and so on.
@hen you are working with free7e and unfree7e
macros, your safest option is to enable at least
the following Beneral preferences 9 above=$
<ave undo history with pro1ect file
llow load of undo history
This will ensure that if you make any serious
errors you can always recover your pro1ect file
from an earlier state.
11.".1 Free/e Trac,s in Fol&er
The following is a simple macro designed to free7e any selected folder together with its child tracks. )t is not
intended as a model that will serve you in every possible circumstance, rather as an e/ample to help you
understand how free7e macros are constructed and how they work.
There are two main strategies that you can use for free7ing tracks. :ne is to render them to new tracks, then
set F2 off3line for, mute and hide the original tracks. The other is to render them as new takes on their e/isting
tracks. :ur e/ample takes the latter approach. This e/ample will work, for e/ample, with the folders in the
pro1ect files used in the tutorials in this user guide. Towever, special attention would need to be paid to the
vocal track because one track 9the male vocal= has Play all takes enabled,
<@<$ <ave current track selection
<@<$ <elect only children of selected folder track9s=
)tem$ <elect all items in selected tracks
<@<$ <elect only track9s= with items
)tem$ %ender items to new take
#-#
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REAPER Plus! The Power of SWS Extensions 84 1..19
)tem$ 5nselect all items
Track$ <et all F2 offline for selected tracks
Track$ Toggle F2 bypass of selected track9s=
<@<$ %estore saved track selection
Lost of these actions are fairly self3e/planatory. The action Track$ Toggle F2 bypass of selected track9s= is not
strictly necessary, as all individual effects within these tracks will have already been set off line. Towever, by
also setting the tracks themselves to F2 bypass, you provide a visual reminder 9red F2 button= that these tracks
have been fro7en.
11."." *nfree/e Trac,s in Fol&er
This macro effectively reverses the previous macro$
<@<$ <ave current track selection
<@<$ <elect only children of selected folder track9s=
)tem$ <elect all items in selected tracks
<@<$ <elect only track9s= with items
Take$ Delete active take from items
)tem$ 5nselect all items
Track$ <et all F2 online for selected tracks
Track$ Toggle F2 bypass of selected track9s=
<@<$ %estore saved track selection
)f you included the optional action Track$ Toggle F2 bypass of selected track9s= in the free7e macro, then you
should also include it in the unfree7e macro.
Tutorial
#. :pen the file StayWith-e1#" and save it as StayWith-e11".
!. Create the free7e and unfree7e macros shown above. dd them both to your ctions menu.
+. <elect the Vocals folder, the Buitars folder
and the :thers 9harmonicas= folder.
-. %un your free7e macro. 0ew takes will be
rendered 9see right= and the tracks in
these folders will be fro7en.
C. Display the item properties for the male
vocal track and disable Play ll Takes.
E. Play the song again. )t should sound
e/actly the same as before.
,. 0ow select the same folders again and run the 5nfree7e macro. Display the item properties for the
male vocal and enable the Play ll Takes option.
.. <ave the file.
Kote$ )f you are concerned about having to manually disengage and engage the Play ll Takes option, you
could pursue either of two solutions. :ne would be to include a play all takes toggle action in your macros. The
other would be to render to new tracks rather than new takes.
#-!
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1" B Su((ary of SWS an& SWS%Aena,ios -o&ules an& Actions
1" Su((ary of SWS an& SWS%Aena,ios -o&ules an& Actions
)n this chapter you will find a summary of the main <@< actions associated with each main e/tension module,
as well as those utility actions that are not specifically associated with any particular module. For the latest
information you should check the <@< web site http$''www.standingwaterstudios.com'
s you browse this list, most items will fall into one of three categories$
ctions whose purpose makes sense to you and which you might want to consider using, either alone
or as part of a custom macro]
ctions whose purpose makes sense to you but for which you do not believe you would have any use]
ctions whose purpose you simply do not understand.
Don6t be concerned about this. 0o two people6s e/act needs are identical. :ften an action that will be important
for one person will be of no use to another. Don6t e/pect to be able to know everything at once.
The actions are grouped by topic and listed in two columns ? column # being the action as you will find it in the
actions list, column ! being the command string, such as you might wish to use for e/ample in command
markers.
C(!ortant note for )SA *sers!
t the time of writing this, some actions are not available within the :<2 version of %&P&%. These include any
that refer to the Hrecycle binI 9known in the :<2 environment as HtrashI= and any others that have been
marked with a double asterisk 9__=.
1".1 SWS Autocolor an& 3olorin' Actions
<@<$ pply auto coloring <@<5T:C:P:%FPPPJ
<@<$ :pen auto color window <@<5T:C:P:%F:P&0
<@<$ Toggle auto coloring enable <@<5T:C:P:%F&0KP&
To avoid unnecessary repetition, commands referring to custom color numbers, slot numbers etc. have been
e/pressed in this format$
<@<$ <et selected track9s= to custom color Z# thru #E[
This means that there are si/teen similar commands, one for each number in the range,
starting with$ <@<$ <et selected track9s= to custom color #
and ending with <@<$ <et selected track9s= to custom color #E
This convention is used throughout this chapter.
<@<$ :pen color management window <@<C:P:%@0D
<@<$ <et selected item9s= to color black <@<FKPC;)T&L
<@<$ <et selected item9s= to color gradient <@<F)T&LB%D
<@<$ <et selected item9s= to color gradient per track <@<F)T&LT%C;B%D
<@<$ <et selected item9s= to color white <@<F@T)T&)T&L
<@<$ <et selected item9s= to custom color Z# thru #E[
<@<F)T&LC5<TC:P# U
<@<F)T&LC5<TC:P#E
<@<$ <et selected item9s= to ne/t custom color <@<FC:P)T&L0&2TC5<T
#-+
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REAPER Plus! The Power of SWS Extensions 84 1..19
<@<$ <et selected item9s= to one random custom color <@<F)T&L%0DC:P
<@<$ <et selected item9s= to ordered custom colors <@<F)T&L:%DC:P
<@<$ <et selected item9s= to ordered custom colors per track <@<F)T&L:%DC:PT%C;
<@<$ <et selected item9s= to random custom color9s= <@<F)T&L%0DC:P<
<@<$ <et selected item9s= to respective track color <@<F)T&LT%;C:P
<@<$ <et selected track9s= children to same color <@<FC:PCT)PD%&0
<@<$ <et selected track9s= to color black <@<FKPC;T%C;
<@<$ <et selected track9s= to color white <@<F@T)T&T%C;
<@<$ <et selected track9s= to custom color Z# thru #E[
<@<FT%C;C5<TC:P# ...
<@<FT%C;C5<TC:P#E
<@<$ <et selected track9s= to ne/t custom color <@<FC:PT%C;0&2TC5<T
<@<$ <et selected track9s= to ne/t track6s color <@<FC:PT%C;0&2T
<@<$ <et selected track9s= to one random custom color <@<FT%C;%0DC:P
<@<$ <et selected track9s= to ordered custom colors <@<FT%C;:%DC:P
<@<$ <et selected track9s= to previous track6s color <@<FC:PT%C;P%&V
<@<$ <et selected track9s= to random custom color9s= <@<FT%C;%0DC:P<
<@<$ <et selected track9s='item9s= to custom color... <@<FC5<T:LC:PPP
<@<$ <et selected track9s='item9s= to one random color <@<F%0D:LC:PPP
<@<$ <et selected tracks to color gradient <@<FT%C;B%D
<@<$ Toggle ruler red while recording <@<F%&C%&D%5P&%
1"." SWS Rea3onsole Actions
<@<$ &dit console custom commands 9restart needed after save= <@<C:0<:P&&D)TC5<T
<@<$ :pen console <@<C:0<:P&
<@<$ :pen console and copy keystroke <@<C:0<:P&!
<@<$ :pen console with 686 to add action marker <@<C:0<:P&L%;&%
<@<$ :pen console with 6a6 to arm track9s= <@<C:0<:P&%L
<@<$ :pen console with 6b6 to prefi/ track9s= <@<C:0<:P&P%&F)2
<@<$ :pen console with 6c6 to color track9s= <@<C:0<:P&C:P:%
<@<$ :pen console with 6f6 to toggle F2 enable <@<C:0<:P&F2
<@<$ :pen console with 6h6 to flip phase on track9s= <@<C:0<:P&PT<&
<@<$ :pen console with 6i6 to set track9s= input <@<C:0<:P&)0P5T
<@<$ :pen console with 6l6 to set track9s= X channels <@<C:0<:P&CT0
<@<$ :pen console with 6m6 to mute track9s= <@<C:0<:P&L5T&
<@<$ :pen console with 6n6 to name track9s= <@<C:0<:P&0L&
<@<$ :pen console with 6o6 to solo track9s= <@<C:0<:P&<:P:
<@<$ :pen console with 6P6 to set track9s= pan <@<C:0<:P&P0
<@<$ :pen console with 6p6 to trim pan on track9s= <@<C:0<:P&P0T
<@<$ :pen console with 6<6 to select track9s= <@<C:0<:P&&2<&P
<@<$ :pen console with 6V6 to set track9s= volume <@<C:0<:P&V:P
<@<$ :pen console with 6v6 to trim volume on track9s= <@<C:0<:P&V:PT
<@<$ :pen console with 676 to suffi/ track9s= <@<C:0<:P&<5FF)2
#--
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1" B Su((ary of SWS an& SWS%Aena,ios -o&ules an& Actions
1".< SWS -ar,er Actions
<@<$ Disable marker actions <@<LFD)<KP&
<@<$ &nable marker actions <@<LF&0KP&
<@<$ 0udge marker under cursor left <@<FL05DB&P
<@<$ 0udge marker under cursor right <@<FL05DB&%
<@<$ %un action marker under cursor <@<LF%50&D)T
<@<$ Toggle marker actions enable <@<LFT:BBP&
<@<$ Copy marker set to clipboard <@<L%;&%P)<TC
<@<$ Copy markers in time selection to clipboard 9relative to selection start= <@<LPFT:CP)PT)L&<&P
<@<$ Delete all markers <@<L%;&%P)<TD
<@<$ Delete all regions <@<L%;&%P)<T#"
<@<$ Delete marker set <@<L%;&%P)<T-
<@<$ &/port formatted marker list to clipboard <@<L%;&%P)<T##
<@<$ &/ported marker list format... <@<L%;&%P)<T#!
<@<$ Poad marker set <@<L%;&%P)<T!
<@<$ :pen marker list <@<L%;&%P)<T#
<@<$ Paste marker set from clipboard <@<L%;&%P)<TE
<@<$ %enumber marker )Ds <@<L%;&%P)<T,
<@<$ %enumber region )Ds <@<L%;&%P)<T.
<@<$ <ave marker set <@<L%;&%P)<T+
<@<$ <elect ne/t region <@<F<&P0&2T%&B
<@<$ <elect previous region <@<F<&PP%&V%&B
1".> SWS -e&ia Pool Actions
<@<$ <how media pool <@<LPF:P&0
1".; SWS 3ontext Sensiti4e Actions
<@<$ Copy items'tracks'env, obeying time sel <@<F<L%TC:PJ
<@<$ Cut items'tracks'env, obeying time sel <@<F<L%TC5T
<@<$ %emove items'tracks'env, obeying time sel <@<F<L%T%&L:V&
<@<$ <plit items at time sel 9if e/ists=, else at edit cursor <@<F<L%T<PP)T
<@<$ 5nselect all items'tracks'env points <@<F50<&PPP
<@<$ 5nselect all items'tracks'env points 9depending on focus= <@<F<L%T50<&P
#-C
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REAPER Plus! The Power of SWS Extensions 84 1..19
1".? SWS Free/e%*nfree/e Actions
<@<$ %estore active takes on selected track9s= <@<F%&<TCTT;&<
<@<$ %estore last item selection on selected track9s= <@<F%&<TP<T<&P
<@<$ %estore loop selection, ne/t slot <@<F%&<TP::P0&2T
<@<$ %estore loop selection, slot Z# thru C[
<@<F%&<TP::P# ...
<@<F%&<TP::PC
<@<$ %estore saved selected item9s= <@<F%&<TPP<&P)T&L<#
<@<$ %estore selected track9s= items6 states <@<F%&<T:%&T%C;
<@<$ %estore selected track9s= mutes 9^receives, children= <@<F%&<T%L5T&<
<@<$ %estore selected track9s= selected item9s=, slot Z# thru C[ <@<F%&<T<&P)T&L<#
<@<$ %estore selected track9s= selected items6 states <@<F%&<T<&P:0T%C;
<@<$ %estore time selection, ne/t slot <@<F%&<TT)L&0&2T
<@<$ %estore time selection, slot Z# thru C[
<@<F%&<TT)L&# U
<@<F%&<TT)L&C
<@<$ <ave active takes on selected track9s= <@<F<V&CTT;&<
<@<$ <ave loop selection, slot Z# thru C[
<@<F<V&P::P# U
<@<F<V&P::PC
<@<$ <ave selected item9s= <@<F<V&PP<&P)T&L<#
<@<$ <ave selected track9s= items6 states <@<F<V&T%C;
<@<$ <ave selected track9s= mutes 9^receives, children= <@<F<V&L5T&<
<@<$ <ave selected track9s= selected item9s=, slot Z# thru C[
<@<F<V&<&P)T&L<# ...
<@<F<V&<&P)T&L<C
<@<$ <ave selected track9s= selected items6 states <@<F<V&<&P:0T%C;
<@<$ <ave time selection, slot Z# thru C[
<@<F<V&T)L&# U
<@<F<V&T)L&C
<@<$ <elect item9s= with saved state on selected track9s= <@<F<&P@)TT<TT&
1". SWS Fol&er -ani!ulation Actions
<@<$ )ndent selected track9s= <@<F)0D&0T
<@<$ Lake folder from selected tracks <@<FL;&F:PD&%
<@<$ Lute children of selected folder9s= <@<FL5T&CT)PD%&0
<@<$ <et selected folder9s= collapsed <@<FC:PPP<&
<@<$ <et selected folder9s= small <@<FF:PD<LPP
<@<$ <et selected folder9s= uncollapsed <@<F50C:PPP<&
<@<$ <et selected track9s= to same folder as previous track <@<FF:PD&%P%&V
<@<$ Toggle mute of children of selected folder9s= <@<FT:BL5T&CT)PD%0
<@<$ 5nindent selected track9s= <@<F50)0D&0T
<@<$ 5nmute children of selected folder9s= <@<F50L5T&CT)PD%&0
#-E
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1" B Su((ary of SWS an& SWS%Aena,ios -o&ules an& Actions
1".@ SWS Cte( Actions
<@<$ Delete all items on selected track9s= <@<FD&PPP)T&L<
<@<$ )nsert file matching selected track9s= name <@<F)0<&%TF%:LT0
<@<$ Poop section of selected item9s= <@<FP::P)T&L<&CT):0
<@<$ Love selected item9s= left edge to edit cursor <@<F)T&LP&FTT:C5%
<@<$ Love selected item9s= right edge to edit cursor <@<F)T&L%)BTTT:C5%
<@<$ Toggle mute of items on selected track9s= <@<FT:B)T&LL5T&
<@<$ Love cursor to item peak amplitude <@<FF)0D)T&LP&;
<@<$ 0udge item9s= position # sample left <@<F05DB&<LPP&P&FT
<@<$ 0udge item9s= position # sample right <@<F05DB&<LPP&%)BTT
1".= SWS Cte( Selection
<@<$ dd item9s= to left of selected item9s= to selection <@<FDDP&FT)T&L
<@<$ dd item9s= to right of selected item9s= to selection <@<FDD%)BTT)T&L
<@<$ <elect locked items <@<F<&PP:C;)T&L<
<@<$ <elect locked items on selected track9s= <@<F<&PP:C;)T&L<!
<@<$ <elect lower3leftmost item on selected track9s= <@<F<&PPP)
<@<$ <elect muted items <@<F<&PL5T&D)T&L<
<@<$ <elect muted items on selected track9s= <@<F<&PL5T&D)T&L<!
<@<$ <elect ne/t item 9across tracks= <@<F<&P0&2T)T&L
<@<$ <elect ne/t item, keeping current selection 9across tracks= <@<F<&P0&2T)T&L!
<@<$ <elect previous item 9across tracks= <@<F<&PP%&V)T&L
<@<$ <elect previous item, keeping current selection 9across tracks= <@<F<&PP%&V)T&L!
<@<$ <elect upper3leftmost item on selected track9s= <@<F<&P5P)
<@<$ Toggle selection of items on selected track9s= <@<FT:B)T&L<&P
<@<$ 5nselect all items on selected track9s= <@<F50<&P:0T%C;<
<@<$ 5nselect items without 6render6 in source filename <@<F50<&P0:T%&0D&%
<@<$ 5nselect items without 6stems6 in source filename <@<F50<&P0:T<T&L
<@<$ 5nselect upper3leftmost item on selected track9s= <@<F50<&P5P)
1".1# SWS%PA2RE En4elo!e Processor an& :F) Generator
<@<'PD%&$ &nvelope PF: Benerator PD%&F&0VPF:
<@<'PD%&$ &nvelope Processor$ <elected Track PD%&FT%C;&0VP%:C
<@<'PD%&$ <hrink <elected )tems$ 3#"!- samples PD%&F<T%)0;F#"!-
<@<'PD%&$ <hrink <elected )tems$ 3#!. samples PD%&F<T%)0;F#!.
<@<'PD%&$ <hrink <elected )tems$ 3!"-. samples PD%&F<T%)0;F!"-.
<@<'PD%&$ <hrink <elected )tems$ 3!CE samples PD%&F<T%)0;F!CE
<@<'PD%&$ <hrink <elected )tems$ 3C#! samples PD%&F<T%)0;FC#!
#-,
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REAPER Plus! The Power of SWS Extensions 84 1..19
1".11 SWS Pro7ect Preferences
<@<$ Tide docker <@<FT)D&D:C;
<@<$ Tide master track in track control panel <@<FT)D&L<T&%
<@<$ Letronome disable <@<FL&T%::FF
<@<$ Letronome enable <@<FL&T%::0
<@<$ %estore auto crossfade state <@<F%&<T:%&2FD
<@<$ %estore transport repeat state <@<F%&<T%&P&T
<@<$ <ave auto crossfade state <@<F<V&2FD
<@<$ <ave transport repeat state <@<F<V&%&P&T
<@<$ <et auto crossfade off <@<F2FD:FF
<@<$ <et auto crossfade on <@<F2FD:0
<@<$ <et move envelope points with items off <@<FLVP@)D:FF
<@<$ <et move envelope points with items on <@<FLVP@)D:0
<@<$ <et transport repeat state <@<F<&T%&P&T
<@<$ <how docker <@<F<T:@D:C;
<@<$ <how master track in track control panel <@<F<T:@L<T&%
<@<$ <witch grid spacing <@<FB%)D<PC)0B
<@<$ Toggle default fade time to 7ero <@<FT:BD&FFD&S&%:
<@<$ Toggle move cursor to end of recorded media on stop <@<FT:B%&CL:V&C5%
<@<$ Transport$ %ecord'stop <@<F%&CT:BBP&
<@<$ 5nset transport repeat state <@<F50<&T%&P&T
1".1" SWS Trac, Para(eter Actions
<@<$ Kypass F2 on selected track9s= <@<FKJP<<F2
<@<$ Create and select first track <@<FC%&T&T%;#
<@<$ Delete track9s= with children 9prompt= <@<FD&PT%C;CTPD
<@<$ Disable master F2 <@<FD)<L<T&%F2
<@<$ Disable master'parent send on selected track9s= <@<FD)<LP<&0D
<@<$ &nable master F2 <@<F&0L<T&%F2
<@<$ &nable master'parent send on selected track9s= <@<F&0LP<&0D
<@<$ )nsert track above selected tracks <@<F)0<%TT%;K:V&
<@<$ Linimi7e selected track9s= <@<FL)0T%C;<
<@<$ Lute all receives for selected track9s= <@<FL5T&%&CV<
<@<$ Lute all sends from selected track9s= <@<FL5T&<&0D<
<@<$ 0ame selected track9s= like first sel item <@<F0L&T;P);&)T&L
<@<$ %estore master F2 enabled state <@<F%&<TL<TF2&0
<@<$ <ave master F2 enabled state <@<F<V&L<TF2&0
<@<$ <et selected track9s= monitor track media while recording <@<F<&TL:0L&D)
<@<$ <et selected track9s= record output mode based on items <@<F<&T%&C<%C:5T
<@<$ Toggle master'parent send on selected track9s= <@<FT:BLP<&0D
<@<$ Toggle mute on receives for selected track9s= <@<FT:BL5T&%&CV<
<@<$ 5nbypass F2 on selected track9s= <@<F50KJP<<F2
#-.
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1" B Su((ary of SWS an& SWS%Aena,ios -o&ules an& Actions
<@<$ 5nmute all receives for selected track9s= <@<F50L5T&%&CV<
<@<$ 5nmute all sends from selected track9s= <@<F50L5T&<&0D<
<@<$ 5nset selected track9s= monitor track media while recording <@<F50<&TL:0L&D)
<@<$ <et selected track9s= pan law to 3!.Cdb <@<FP0P@0&B!C
<@<$ <et selected track9s= pan law to 3+."db <@<FP0P@0&B+
<@<$ <et selected track9s= pan law to 3-.Cdb <@<FP0P@0&B-C
<@<$ <et selected track9s= pan law to 3E."db <@<FP0P@0&BE
<@<$ <et selected track9s= pan law to "."dK 2&0;):<F<&PT%2P0P@S&%:
<@<$ <et selected track9s= pan law to !.Cdb <@<FP0P@P:<!C
<@<$ <et selected track9s= pan law to +."db <@<FP0P@P:<+
<@<$ <et selected track9s= pan law to -.Cdb <@<FP0P@P:<-C
<@<$ <et selected track9s= pan law to E."db <@<FP0P@P:<E
<@<$ <et selected track9s= pan law to default 2&0;):<F<&PT%2P0P@D&F
1".1< SWS Actions to Select Trac,s
<@<$ %estore saved track selection <@<F%&<T:%&<&P
<@<$ <ave current track selection <@<F<V&<&P
<@<$ <elect all folder start tracks <@<F<&PF:PD<T%T<
<@<$ <elect all folders 9parents only= <@<F<&PPPP%&0T<
<@<$ <elect all non3folders <@<F<&P0:TF:PD&%
<@<$ <elect armed tracks <@<F<&P%L&DT%C;<
<@<$ <elect children of selected folder track9s= <@<F<&PCT)PD%&0!
<@<$ <elect master track <@<F<&PL<T&%
<@<$ <elect muted tracks <@<F<&PL5T&DT%C;<
<@<$ <elect ne/t folder <@<F<&P0&2TF:PD&%
<@<$ <elect only children of selected folders <@<F<&PCT)PD%&0
<@<$ <elect only parent9s= of selected folder track9s= <@<F<&PP%&0T<
<@<$ <elect only rec armed track9s= <@<F<&P%&C%L
<@<$ <elect only track Z# thru +![
<@<F<&P# U
<@<F<&P+!
<@<$ <elect only track9s= with selected item9s= <@<F<&PT%;@)T&L
<@<$ <elect parent9s= of selected folder track9s= <@<F<&PP%&0T<!
<@<$ <elect previous folder <@<F<&PP%&VF:PD&%
<@<$ <elect soloed tracks <@<F<&P<:P:&DT%C;<
<@<$ <elect tracks with active routing to selected track9s= <@<F<&P%:5T&D
<@<$ <elect tracks with flipped phase <@<F<&PPT<&T%C;<
<@<$ <et last touched track to match track selection <@<F<&TPTT
<@<$ Toggle 9invert= track selection <@<FT:BT%C;<&P
<@<$ Toggle master track select <@<FT:B<&PL<T&%
<@<$ 5nselect children of selected folder track9s= <@<F50<&PCT)PD%&0
<@<$ 5nselect master track <@<F50<&PL<T&%
#-D
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REAPER Plus! The Power of SWS Extensions 84 1..19
<@<$ 5nselect parent9s= of selected folder track9s= <@<F50<&PP%&0T<
<@<$ 5nselect rec armed track9s= <@<F50<&P%&C%L
1".1> SWS Pro7ect -ana'e(ent
<@<$ dd related pro1ect9s= <@<FDD%&PT&DP%:M
<@<$ Delete related pro1ect <@<FD&P%&PT&DP%:M
<@<$ :pen pro1ect list <@<FP%:MP)<TF:P&0
<@<$ :pen pro1ects from list <@<FP%:MP)<T<:P&0
<@<$ :pen related pro1ect # <@<F:P&0%&PT&D#
<@<$ <ave list of open pro1ects <@<FP%:MP)<T<V&
<@<$ <witch to last pro1ect tab <@<FP<TP%:MTK
<@<$ <witch to pro1ect tab Z# thru #"[
<@<FF)%<TP%:MTK
<@<FP%:MTK! U
<@< P%:MTK#"
1".1; SWS Sna!shots
<@<$ %ecall snapshot Z# thru #![
<@<<0P<T:TFB&T# U
<@<<0P<T:TFB&T#!
<@<$ dd selected track9s= to all snapshots <@<<0P<T:T<FDD
<@<$ dd selected track9s= to current snapshot <@<<0P<T:TFDD
<@<$ Clear all snapshot filter options <@<<0P<T:TFCP&%F)PT
<@<$ Copy current snapshot <@<<0P<T:TFC:PJ
<@<$ Copy new snapshot 9all track9s== <@<<0P<T:TFC:PJPP
<@<$ Copy new snapshot 9selected track9s== <@<<0P<T:TFC:PJ<&P
<@<$ Delete selected track9s= from all snapshots <@<<0P<T:T<FD&P
<@<$ Delete selected track9s= from current snapshot <@<<0P<T:TFD&P
<@<$ 0ew snapshot 9all tracks= <@<<0P<T:TF0&@PP
<@<$ 0ew snapshot 9selected track9s== <@<<0P<T:TF0&@<&P
<@<$ 0ew snapshot 9with current settings= <@<<0P<T:TF0&@
<@<$ 0ew snapshot and edit name <@<<0P<T:TF0&@&D)T
<@<$ :pen snapshots window <@<<0P<T:TF:P&0
<@<$ Paste snapshot <@<<0P<T:TFP<T&
<@<$ %ecall current snapshot <@<<0P<T:TFB&T
<@<$ %estore snapshot filter options <@<<0P<T:TF%&<TF)PT
<@<$ <ave as snapshot Z# thru #![
<@<<0P<T:TF<V&# U
<@<<0P<T:TF<V&#!
<@<$ <ave current snapshot filter options <@<<0P<T:TF<V&F)PT
<@<$ <ave over current snapshot <@<<0P<T:TF<V&
<@<$ <elect current snapshot track9s= <@<<0P<T:TF<&P
<@<$ <et snapshots to 6mi/6 mode <@<<0P<T:TFL)2L:D&
<@<$ <et snapshots to 6visibility6 mode <@<<0P<T:TFV)<L:D&
#C"
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1" B Su((ary of SWS an& SWS%Aena,ios -o&ules an& Actions
<@<$ Toggle snapshot apply filter to recall <@<<0P<T:TFPPPJP:D
<@<$ Toggle snapshot f/ <@<<0P<T:TFF2
<@<$ Toggle snapshot mute <@<<0P<T:TFL5T&
<@<$ Toggle snapshot pan <@<<0P<T:TFP0
<@<$ Toggle snapshot selected only <@<<0P<T:TF<&P:0PJ
<@<$ Toggle snapshot selection <@<<0P<T:TFT:B<&P
<@<$ Toggle snapshot sends <@<<0P<T:TF<&0D
<@<$ Toggle snapshot solo <@<<0P<T:TF<:P:
<@<$ Toggle snapshot visibility <@<<0P<T:TFV)<
<@<$ Toggle snapshot vol <@<<0P<T:TFV:P
1".1? SWS%S[- FA3hain an& 3ue Routin'
<@<'<GL$ Kypass all F2s for selected track9s= <GLFF2KJPPP!
<@<'<GL$ Kypass F2 Z# thru .[ for selected track9s=
<GLFF2KJPF<&T:0# ...
<GLFF2KJPF<&T:0.
<@<'<GL$ Kypass last F2 bypass for selected track9s= <GLFF2KJPF<&T:0P<T
<@<'<GL$ Kypass selected F2 bypass for selected track9s= <GLFF2KJPF<&T:0<&P
<@<'<GL$ Clear F2 chain for selected item9s= <GLFCP%F2CT)0#
<@<'<GL$ Clear F2 chain for selected item9s=, all takes <GLFCP%F2CT)0!
<@<'<GL$ Clear F2 chain for selected track9s= <GLFCP%F2CT)0+
<@<'<GL$ Clear F2 chain slot... <GLFCP%F2CT)0<P:T
<@<'<GL$ Close all envelope window9s= <GLF@0CP<!
<@<'<GL$ Close all floating F2 window9s= <GLF@0CP<+
<@<'<GL$ Close all F2 chain window9s= <GLF@0CP<-
<@<'<GL$ Close all routing window9s= <GLF@0CP<#
<@<'<GL$ Copy F2 chain from selected item <GLFC:PJF2CT)0#
<@<'<GL$ Copy F2 chain from selected track <GLFC:PJF2CT)0C
<@<'<GL$ Copy tracks 9with routing= <GLFC:PJ<0D%CV#
<@<'<GL$ Create cue bus track from track selection 9prompt= <GLF<&0D<-
<@<'<GL$ Create cue bus track from track selection, Post3Fader 9Post3Pan= <GLF<&0D<!
<@<'<GL$ Create cue bus track from track selection, Pre3Fader 9Post3F2= <GLF<&0D<#
<@<'<GL$ Create cue bus track from track selection, Pre3F2 <GLF<&0D<+
<@<'<GL$ Cut F2 chain from selected item <GLFC:PJF2CT)0!
<@<'<GL$ Cut F2 chain from selected track <GLFC:PJF2CT)0E
<@<'<GL$ Cut tracks 9with routing= <GLFC5T<0D%CV#
<@<'<GL$ Float F2 Z# thru .[ window for selected track9s=
<GLFFP:TF2# U
<GLFFP:TF2.
<@<'<GL$ Float selected F2 window for selected track9s= <GLFFP:TF2<&P
<@<'<GL$ Focus main window <GLF@0L)0
<@<'<GL$ Pist F2 chain slots... <GLF<T:@F2CT)0<P:T<
<@<'<GL$ Poad'Paste F2 chain to selected item9s=, all takes, prompt for slot <GLFT;&F2CT)0p!
<@<'<GL$ Poad'Paste F2 chain to selected item9s=, prompt for slot <GLFT;&F2CT)0p#
#C#
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REAPER Plus! The Power of SWS Extensions 84 1..19
<@<'<GL$ Poad'Paste F2 chain to selected item9s=, slot Z# thru .[
<GLFT;&F2CT)0# ,,,
<GLFT;&F2CT)0.
<@<'<GL$ Poad'Paste F2 chain to selected track9s=, prompt for slot <GLFT%C;F2CT)0p#
<@<'<GL$ Poad'Paste F2 chain to selected track9s=, slot Z# thru .[
<GLFT;&F2CT)0# U
<GLFT;&F2CT)0.
<@<'<GL$ Paste F2 chain to selected item9s= <GLFC:PJF2CT)0+
<@<'<GL$ Paste F2 chain to selected item9s=, all takes <GLFC:PJF2CT)0-
<@<'<GL$ Paste F2 chain to selected track9s= <GLFC:PJF2CT)0,
<@<'<GL$ Paste items or tracks with routing <GLFP<T<0D%CV#
<@<'<GL$ %emove receives for selected track9s= <GLF<&0D<C
<@<'<GL$ <elect F2 Z# thru .[ for selected track9s=
<GLF<&PF2# U
<GLF<&PF2.
<@<'<GL$ <elect ne/t F2 9cycling= for selected track9s= <GLF<&PF20&2T
<@<'<GL$ <elect previous F2 9cycling= for selected track9s= <GLF<&PF2P%&V
<@<'<GL$ <et F2 Z# thru .[ offline for selected track9s=
<GLFF2:FFF<&T:FF# U
<GLFF2:FFF<&T:FF.
<@<'<GL$ <et F2 Z# thru .[ online for selected track9s=
<GLFF2:FFF<&T:0# U
<GLFF2:FFF<&T:0.
<@<'<GL$ <et last F2 offline for selected track9s= <GLFF2:FFF<&T:FFP<T
<@<'<GL$ <et last F2 online for selected track9s= <GLFF2:FFF<&T:0P<T
<@<'<GL$ <et selected F2 offline for selected track9s= <GLFF2:FFF<&T:FF<&P
<@<'<GL$ <et selected F2 online for selected track9s= <GLFF2:FFF<&T:0<&P
<@<'<GL$ <how F2 chain 9F2 Z# thru .[= for selected track9s=
<GLF<T:@F2CT)0# U
<GLF<T:@F2CT)0.
<@<'<GL$ <how F2 chain 9selected F2= for selected track9s= <GLF<T:@F2CT)0<&P
<@<'<GL$ <plit L)D) or udio at prior 7ero crossing <GLF<PP)T#
<@<'<GL$ Takes 3 Kuild lane9s= for selected track9s= <GLFP0&T;&#
<@<'<GL$ Takes 3 Clear active take9s='item9s= <GLFCP%T;&#
<@<'<GL$ Takes 3 Love active down 9cycling= in selected item9s= <GLFL:V&T;&-
<@<'<GL$ Takes 3 Love active up 9cycling= in selected item9s= <GLFL:V&T;&+
<@<'<GL$ Takes 3 Love all down 9cycling= in selected item9s= <GLFL:V&T;&!
<@<'<GL$ Takes 3 Love all up 9cycling= in selected item9s= <GLFL:V&T;&#
<@<'<GL$ Takes 3 %emove PP empty take'item9s= among selected item9s= <GLFD&P&LPTJT;&+
<@<'<GL$ Takes 3 %emove empty L)D) take'item9s= among selected item9s= <GLFD&P&LPTJT;&!
<@<'<GL$ Takes 3 %emove empty source take'item9s= among selected
item9s= <GLFD&P&LPTJT;&
<@<'<GL$ Takes 3 <elect lane from selected item <GLFP0&T;&!
<@<'<GL$ Toggle all F2s 9e/cept Z# thru .[= bypass for selected track9s=
<GLFF2KJP&2CPT# ...
<GLFF2KJP&2CPT.
<@<'<GL$ Toggle all F2s 9e/cept Z# thru .[= online'offline for selected
track9s=
<GLFF2:FF&2CPT# ...
<GLFF2:FF&2CPT.
<@<'<GL$ Toggle all F2s 9e/cept selected= bypass for selected track9s= <GLFF2KJP&2CPT<&P
<@<'<GL$ Toggle all F2s 9e/cept selected= online'offline for selected track9s= <GLFF2:FF&2CPT<&P
#C!
For an authorised printable PDF version of this guide or a bound hard copy go to http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
1" B Su((ary of SWS an& SWS%Aena,ios -o&ules an& Actions
<@<'<GL$ Toggle all F2s bypass for selected track9s= <GLFF2KJPPP
<@<'<GL$ Toggle all F2s online'offline for selected track9s= <GLFF2:FFPP
<@<'<GL$ Toggle F2 Z# thru .[ bypass for selected track9s=
<GLFF2KJP# U
<GLFF2KJP.
<@<'<GL$ Toggle F2 Z# thru .[ online'offline for selected track9s=
<GLFF2:FF# U
<GLFF2:FF.
<@<'<GL$ Toggle last F2 bypass for selected track9s= <GLFF2KJPP<T
<@<'<GL$ Toggle last F2 online'offline for selected track9s= <GLFF2:FFP<T
<@<'<GL$ Toggle selected F2 bypass for selected track9s= <GLFF2KJP<&P
<@<'<GL$ Toggle selected F2 online'offline for selected track9s= <GLFF2:FF<&P
<@<'<GL$ Toggle show all envelope window9s= <GLF@0TBP!
<@<'<GL$ Toggle show all routing window9s= <GLF@0TBP#
<@<'<GL$ Toggle show F2 chain window9s= for selected track9s= <GLF@0TBP+
<@<'<GL$ 5nbypass all F2s for selected track9s= <GLFF2KJPPP+
<@<'<GL$ 5nbypass F2 Z# thru .[ for selected track9s=
<GLFF2KJPF<&T:FF# U
<GLFF2KJPF<&T:FF.
<@<'<GL$ 5nbypass last F2 for selected track9s= <GLFF2KJPF<&T:FFP<T
<@<'<GL$ 5nbypass selected F2 for selected track9s= <GLFF2KJPF<&T:FF<&P
1".1 SWS About
<@<$ bout... <@<FK:5T
1".1@ SWS Trac,list1 Trac, Li&e1 Trac, Show
<@<$ Clear tracklist filter <@<TPFCP&%FPT
<@<$ Tide all tracks <@<TPFT)D&PP
<@<$ Tide selected track9s= <@<TPFT)D&
<@<$ Tide selected track9s= from LCP <@<TPFT)D&LCP
<@<$ Tide selected track9s= from TCP <@<TPFT)D&TCP
<@<$ Tide unselected track9s= <@<TPFT)D&50<&P
<@<$ <how all tracks <@<TPF<T:@PP
<@<$ <how all tracks in LCP <@<TPF<T:@PPLCP
<@<$ <how all tracks in TCP <@<TPF<T:@PPTCP
<@<$ <how selected track9s= in LCP <@<TPF<T:@LCP
<@<$ <how selected track9s= in LCP only <@<TPFLCP:0PJ
<@<$ <how selected track9s= in LCP, hide others <@<TPF<T:@LCP&2
<@<$ <how selected track9s= in TCP <@<TPF<T:@TCP
<@<$ <how selected track9s= in TCP and LCP <@<TPFK:TT
<@<$ <how selected track9s= in TCP only <@<TPFTCP:0PJ
<@<$ <how selected track9s= in TCP, hide others <@<TPF<T:@TCP&2
<@<$ <how selected track9s=, hide others <@<TPF<T:@&2
<@<$ <how Tracklist <@<TPF:P&0
#C+
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REAPER Plus! The Power of SWS Extensions 84 1..19
<@<$ <how Tracklist with filter focused <@<TPF:P&0F)PT
<@<$ <napshot current track visibility <@<TPF<0P<T:T
<@<$ Toggle selected track9s= fully visible'hidden <@<TPFT:BBP&
<@<$ Toggle selected track9s= visible in LCP <@<TPFT:BLCP
<@<$ Toggle selected track9s= visible in TCP <@<TPFT:BTCP
1".1= Fin'ers%SWS Cte( Rate Actions
F0B'<@<$ Decrease item rate by R".EY 9#" cents= preserving length, clear
6preserve pitch6 F0BF05DB&%T&D:@0
F0B'<@<$ Decrease item rate by REY 9one semitone= preserving length,
clear 6preserve pitch6 F0BFD&C%&<&%T&
F0B'<@<$ )ncrease item rate by R".EY 9#" cents= preserving length, clear
6preserve pitch6 F0BF05DB&%T&5P
F0B'<@<$ )ncrease item rate by REY 9one semitone= preserving length, clear
6preserve pitch6 F0BF)0C%&<&%T&
1"."# Aena,ios%SWS File -ana'e(ent an& -ani!ulation
5nfortunately and because of technical difficulties )6m not able to include the command strings for the 2enakios
actions at the present time. )6m hoping to be able to rectify this in a future edition. Leanwhile, you can find
these by looking thru %&P&%6s actions list.
2enakios'<@<$ Choose files for random insert...
2enakios'<@<$ Choose new source file for selected takes...
2enakios'<@<$ )nsert media file from clipboard ZZ
2enakios'<@<$ )nsert random file
2enakios'<@<$ )nsert random file at time selection
2enakios'<@<$ )nsert random file at time selection, randomi7e offset
2enakios'<@<$ )nsert random file, randomi7e length
2enakios'<@<$ )nsert random file, randomi7e start offset
2enakios'<@<$ )nsert shuffled random file
2enakios'<@<$ :pen associated %&P&% pro1ect of item ZZ
2enakios'<@<$ %ename take source file9s=...
2enakios'<@<$ %ename take9s= and source file9s=...
1"."1 Aena,ios%SWS Te(!late -ana'e(ent
2enakios'<@<$ Poad pro1ect template Z"# thru #"[
2enakios'<@<$ Poad track template Z"# thru #"[
#C-
For an authorised printable PDF version of this guide or a bound hard copy go to http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
1" B Su((ary of SWS an& SWS%Aena,ios -o&ules an& Actions
1"."" Aena,ios%SWS Trac,%Fol&er an& -aster Trac, -ana'e(ent
2enakios'<@<$ pply track F2 to items 9mono= and reset volume
2enakios'<@<$ pply track F2 to items and reset volume
2enakios'<@<$ uto3rename selected takes...
2enakios'<@<$ Kypass F2 of selected track9s=
2enakios'<@<$ Create new tracks...
2enakios'<@<$ Dismantle selected folder
2enakios'<@<$ Bive track9s= default label
2enakios'<@<$ )nsert new track at the top of track list
2enakios'<@<$ )nsert prefi/ to track label9s=
2enakios'<@<$ )nsert suffi/ to track label9s=
2enakios'<@<$ La/imi7e selected track9s= f/ panel height in mi/er
2enakios'<@<$ Linimi7e selected track9s= send G f/ panel height in mi/er
2enakios'<@<$ Linimi7e selected track9s= send panel height in mi/er
2enakios'<@<$ 0udge volume of selected track9s= down
2enakios'<@<$ 0udge volume of selected track9s= up
2enakios'<@<$ Pan selected track9s= randomly
2enakios'<@<$ Pan selected track9s= symmetrically, left to right
2enakios'<@<$ Pan selected track9s= symmetrically, right to left
2enakios'<@<$ Pan selected track9s= to center
2enakios'<@<$ Pan selected track9s= to left
2enakios'<@<$ Pan selected track9s= to right
2enakios'<@<$ %ecall selected track9s= heights
2enakios'<@<$ %ender receives of selected track as stems
2enakios'<@<$ %ename selected track9s=...
2enakios'<@<$ %eset volume and pan of selected track9s=
2enakios'<@<$ <croll track view down 9page=
2enakios'<@<$ <croll track view to end
2enakios'<@<$ <croll track view to home
2enakios'<@<$ <croll track view up 9page=
2enakios'<@<$ <elect first of selected track9s=
2enakios'<@<$ <elect last of selected track9s=
2enakios'<@<$ <elect last track of folder
2enakios'<@<$ <elect ne/t track9s=
2enakios'<@<$ <elect ne/t track9s=, keeping current selection
2enakios'<@<$ <elect previous track9s=
2enakios'<@<$ <elect previous track9s=, keeping current selection
2enakios'<@<$ <elect tracks with 4K5<<4 in name
2enakios'<@<$ <elect tracks with no items
2enakios'<@<$ <et all master track sends muted
2enakios'<@<$ <et all master track sends unmuted
2enakios'<@<$ <et master track send Z# thru C[ muted
#CC
For an authorised printable PDF version of this guide or bound hard copy go to http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
REAPER Plus! The Power of SWS Extensions 84 1..19
2enakios'<@<$ <et master track send Z# thru C[ unmuted
2enakios'<@<$ <et master volume to "dK
2enakios'<@<$ <et selected track as reference track
2enakios'<@<$ <et selected track9s= as folder
2enakios'<@<$ <et selected track9s= height9s= to
2enakios'<@<$ <et selected track9s= height9s= to K
2enakios'<@<$ <et selected track9s= record armed
2enakios'<@<$ <et selected track9s= record unarmed
2enakios'<@<$ <et volume of selected track9s= to "."dK
2enakios'<@<$ <et volume of selected item9s=...
2enakios'<@<$ <tore selected track9s= heights
2enakios'<@<$ Toggle master track send Z# thru C[ mute
2enakios'<@<$ Toggle reference track
2enakios'<@<$ Toggle selected track9s= height 'K
2enakios'<@<$ Toggle selected track9s= visible in mi/er
2enakios'<@<$ Toggle visibility of selected folder parent6s children in mi/er
2enakios'<@<$ 5n3bypass F2 of selected track9s=
2enakios'<@<$ 5nselect tracks with 4K5<<4 in name
1"."< Aena,ios%SWS -e&ia Cte( -ana'e(ent
2enakios'<@<$ Create markers from selected item9s= 9name by take source file name=
2enakios'<@<$ Delete selected item and send active take6s source media to recycle bin ZZ
2enakios'<@<$ Delete selected item and source media 9immediately8=
2enakios'<@<$ Display item peak gain9s=
2enakios'<@<$ &rase from item 9beat based=
2enakios'<@<$ &rase from item 9time based=
2enakios'<@<$ &/plode selected item9s= to new tracks 9keeping positions=
2enakios'<@<$ Find missing media for pro1ect6s takes
2enakios'<@<$ )mplode items to takes and pan symmetrically
2enakios'<@<$ )mplode selected item9s= in3place
2enakios'<@<$ )nvert item selection
2enakios'<@<$ Poop and play selected item9s=
2enakios'<@<$ Love selected item9s= left by item length
2enakios'<@<$ Love selected item9s= to edit cursor
2enakios'<@<$ 0udge item contents # sample left
2enakios'<@<$ 0udge item contents # sample right
2enakios'<@<$ 0udge item pitch down
2enakios'<@<$ 0udge item pitch down 9resampled=
2enakios'<@<$ 0udge item pitch down 9resampled= K
2enakios'<@<$ 0udge item pitch down K
2enakios'<@<$ 0udge item pitch up
2enakios'<@<$ 0udge item pitch up 9resampled=
#CE
For an authorised printable PDF version of this guide or a bound hard copy go to http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
1" B Su((ary of SWS an& SWS%Aena,ios -o&ules an& Actions
2enakios'<@<$ 0udge item pitch up 9resampled= K
2enakios'<@<$ 0udge item pitch up K
2enakios'<@<$ 0udge item positions left, beat based
2enakios'<@<$ 0udge item positions left, time based
2enakios'<@<$ 0udge item positions right, beat based
2enakios'<@<$ 0udge item positions right, time based
2enakios'<@<$ 0udge item volume down
2enakios'<@<$ 0udge item volume up
2enakios'<@<$ 0udge master volume #dK down
2enakios'<@<$ 0udge master volume #dK up
2enakios'<@<$ Pan takes of item symmetrically
2enakios'<@<$ Play selected item9s= once
2enakios'<@<$ Preview selected media item
2enakios'<@<$ Preview selected media item 9toggle=
2enakios'<@<$ Process item with %ubberband... ZZ
2enakios'<@<$ Process item with csound phase vocoder ZZ
2enakios'<@<$ %andomi7e item positions...
2enakios'<@<$ %emap item positions...
2enakios'<@<$ %emove muted items
2enakios'<@<$ %eposition selected item9s=...
2enakios'<@<$ %esample pitch shift item one semitone down
2enakios'<@<$ %esample pitch shift item one semitone up
2enakios'<@<$ %eset item length and media offset
2enakios'<@<$ %eset item volume to "."
2enakios'<@<$ %everse order of selected item9s=
2enakios'<@<$ <ave item as audio file...
2enakios'<@<$ <cale item positions'lengths by static percentage...
2enakios'<@<$ <elect first item9s= of selected track9s=
2enakios'<@<$ <elect items to end of track
2enakios'<@<$ <elect items to start of track
2enakios'<@<$ <elect items under edit cursor on selected track9s=
2enakios'<@<$ <et fades of selected item9s= to "."
2enakios'<@<$ <et fades of selected item9s= to configuration
2enakios'<@<$ <et fades of selected item9s= to configuration K
2enakios'<@<$ <et fades of selected item9s= to configuration C
2enakios'<@<$ <et fades of selected item9s= to configuration D
2enakios'<@<$ <et fades of selected item9s= to configuration &
2enakios'<@<$ <et fades of selected item9s= to configuration F
2enakios'<@<$ <et item fades to autofade lengths
2enakios'<@<$ <et item pitch based on item playrate
2enakios'<@<$ <et item playrate based on item pitch 9and reset pitch=
2enakios'<@<$ <et item rate to #." and pitch to "."
2enakios'<@<$ <et ne/t fade in shape for items
#C,
For an authorised printable PDF version of this guide or bound hard copy go to http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
REAPER Plus! The Power of SWS Extensions 84 1..19
2enakios'<@<$ <et ne/t fade out shape for items
2enakios'<@<$ <et previous fade in shape for items
2enakios'<@<$ <et previous fade out shape for items
2enakios'<@<$ <huffle order of selected item9s=
2enakios'<@<$ <huffle order of selected item9s= 9!=
2enakios'<@<$ <kip select items from selected item9s=...
2enakios'<@<$ <kip select items in selected track9s=...
2enakios'<@<$ <plit items at transients
2enakios'<@<$ <pread selected item9s= over - tracks
2enakios'<@<$ <pread selected item9s= over tracks...
2enakios'<@<$ <top current media item preview
2enakios'<@<$ <wing item positions...
2enakios'<@<$ <witch item contents to first cue
2enakios'<@<$ <witch item contents to ne/t cue
2enakios'<@<$ <witch item contents to ne/t cue 9preserve item length=
2enakios'<@<$ <witch item contents to previous cue
2enakios'<@<$ <witch item contents to previous cue 9preserve item length=
2enakios'<@<$ <witch item contents to random cue
2enakios'<@<$ <witch item contents to random cue 9preserve item length=
2enakios'<@<$ <witch item source file to ne/t %PP in folder
2enakios'<@<$ <witch item source file to ne/t in folder
2enakios'<@<$ <witch item source file to previous %PP in folder
2enakios'<@<$ <witch item source file to previous in folder
2enakios'<@<$ <witch item source file to random in folder
2enakios'<@<$ Toggle selected item9s= selected randomly
2enakios'<@<$ Trim'untrim item left edge to edit cursor
2enakios'<@<$ Trim'untrim item right edge to edit cursor
1"."> Aena,ios%SWS Ta,es -ana'e(ent
2enakios'<@<$ Delete active take of item and send source media to recycle bin ZZ
2enakios'<@<$ Delete active take of item and take source media 9immediately8=
2enakios'<@<$ Find missing media for pro1ect6s takes
2enakios'<@<$ )mplode items to takes and pan symmetrically
2enakios'<@<$ 0ormali7e selected takes to dK value...
2enakios'<@<$ 0udge active take volume down
2enakios'<@<$ 0udge active take volume up
2enakios'<@<$ :pen 9audio= take in e/ternal editor + ZZ
2enakios'<@<$ :pen 9audio= take in e/ternal editor - ZZ
2enakios'<@<$ %ecall selected takes
2enakios'<@<$ %ename selected take9s= 9old version=...
2enakios'<@<$ %ename selected takes with K@V Description
2enakios'<@<$ %ename take source file9s=...
#C.
For an authorised printable PDF version of this guide or a bound hard copy go to http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
1" B Su((ary of SWS an& SWS%Aena,ios -o&ules an& Actions
2enakios'<@<$ %ename take9s= and source file9s=...
2enakios'<@<$ %ename take9s=...
2enakios'<@<$ %ename takes with same name...
2enakios'<@<$ %ender item to new take with tail
2enakios'<@<$ %eset active take volume to "."
2enakios'<@<$ <earch takes...
2enakios'<@<$ <elect first take in selected item9s=
2enakios'<@<$ <elect takes in selected item9s=, shuffled random
2enakios'<@<$ <elect takes of selected item9s= cyclically
2enakios'<@<$ <et volume and pan of selected takes...
2enakios'<@<$ <tore current selected takes
2enakios'<@<$ Take mi/er...
2enakios'<@<$ Toggle selected takes normali7ed'unity gain
1"."; Aena,ios%SWS Ka4i'ation an& 3ursor -o4e(ent
2enakios'<@<$ Love cursor left #" pi/els
2enakios'<@<$ Love cursor left #" pi/els, creating time selection
2enakios'<@<$ Love cursor left configured pi/els
2enakios'<@<$ Love cursor left configured pi/els, creating time selection
2enakios'<@<$ Love cursor left configured seconds
2enakios'<@<$ Love cursor right #" pi/els
2enakios'<@<$ Love cursor right #" pi/els, creating time selection
2enakios'<@<$ Love cursor right configured pi/els
2enakios'<@<$ Love cursor right configured pi/els, creating time selection
2enakios'<@<$ Love cursor right configured seconds
2enakios'<@<$ Love cursor to ne/t transient minus default fade time
2enakios'<@<$ Love cursor to previous transient minus default fade time
2enakios'<@<$ Love edit cursor +!nd note left
2enakios'<@<$ Love edit cursor +!nd note right
2enakios'<@<$ Love edit cursor E-th note left
2enakios'<@<$ Love edit cursor E-th note right
2enakios'<@<$ 0udge section loop length longer
2enakios'<@<$ 0udge section loop length shorter
2enakios'<@<$ 0udge section loop overlap longer
2enakios'<@<$ 0udge section loop overlap shorter
2enakios'<@<$ 0udge section loop start earlier
2enakios'<@<$ 0udge section loop start later
1"."? Aena,ios%SWS Tools an& -iscellaneous
2enakios'<@<$ Disk space calculator...
2enakios'<@<$ )tem property interpolator...
2enakios'<@<$ Mump edit cursor by random amount 9e/p distribution=
#CD
For an authorised printable PDF version of this guide or bound hard copy go to http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
REAPER Plus! The Power of SWS Extensions 84 1..19
2enakios'<@<$ Paunch e/ternal tool # ZZ
2enakios'<@<$ Paunch e/ternal tool ! ZZ
2enakios'<@<$ :pen %&P&% pro1ect in item K@V info 9autosearch for %PP if necessary= ZZ
2enakios'<@<$ Pro1ect media...
2enakios'<@<$ %ecall edit cursor position
2enakios'<@<$ %ecall render speed
2enakios'<@<$ %epeat paste...
2enakios'<@<$ <ave current contents of actions list to file
2enakios'<@<$ <ave pro1ect markers as te/t...
2enakios'<@<$ <et render speed to not limited
2enakios'<@<$ <et render speed to realtime
2enakios'<@<$ <hift current envelope to left
2enakios'<@<$ <hift current envelope to right
2enakios'<@<$ <how'hide floating item'track info
2enakios'<@<$ <tore edit cursor position
2enakios'<@<$ <tore render speed
2enakios'<@<$ Time selection adaptive delete
#E"
For an authorised printable PDF version of this guide or a bound hard copy go to http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
1" B Su((ary of SWS an& SWS%Aena,ios -o&ules an& Actions
#E#
For an authorised printable PDF version of this guide or bound hard copy go to http$''stores.lulu.com'store.php(fcct)D*#+,-,.-
Cn&ex
A
about SWS..........................................................................37
Action List..........................................................................15
Action List Editor...............................................................15
action marker....................................................................135
action markers....................................................................25
Actions List Editor.............................................................16
Actions, Show Action List..................................................15
Actions, Show Actions List................................................16
actions, simpe....................................................................15
Add reated pro!ect"s# ........................................................$%
arm&unarm seected tracks..................................................3'
assi(nin( actions to )EA*E)+s menus...............................16
assi(nin( actions to )EA*E)+s toobars............................16
assi(nin( actions to the ,oatin( -oobar...........................1.
Auto /oor..........................................................................76
Auto /oor actions..............................................................7.
Auto /oor /oor /odes.....................................................7.
Auto /oor ,iter /odes.....................................................77
/
coor commands.................................................................72
/oor commands.................................................................6.
/oor /on0ict, reso1in(....................................................77
coor (radient......................................................................6.
/oor 2radient....................................................................6%
/oor mana(ement..............................................................6.
coor mana(ement custom actions......................................7%
/oor 3ana(ement.............................................................6%
coor sets.............................................................................71
coor tintin( pre0erences.....................................................7$
/oor -oobar......................................................................'
coor utiities.......................................................................67
/oors window...................................................................71
command 45s.....................................................................25
command markers, with custom commands.....................137
contro sur0ace....................................................................16
/op6 marker set to cipboard..............................................57
cue track, creatin(...............................................................35
custom actions....................................................................7%
custom toobars and menus.................................................15
/ustomi7e 3enus...............................................................26
5
5eete a markers...............................................................57
5eete a re(ions................................................................57
5eete 3arker Set...............................................................57
5eete reated pro!ect"s# .....................................................$%
dispa6 actions....................................................................16
5ock 3arker List in 5ocker.........................................57, 6'
5ock -rackist in 5ocker ...................................................1
5onate................................................................................12
downoad sampe pro!ect 0ies............................................12
downoad SWS e8tensions.................................................12
E
Enabe Auto /oorin(.........................................................76
E1i5ra(on /oor -oobar...................................................'
E8cusi1e mute.................................................................13$
E8cusi1e record arm........................................................13$
E8cusi1e soo...................................................................13$
E8port track ist to cipboard..............................................57
e8portin( 0ormatted marker ists.........................................62
,
,iter -racks........................................................................1
,oatin( -oobar.................................................................1.
,oatin( -oobar, assi(nin( actions to................................1.
0oder mana(ement actions.................................................32
0ormatted marker ists.........................................................62
0ormatted marker ists, e8portin(........................................62
,ree7e&un0ee7e macros.....................................................1$1
,9 enabe, to((e..............................................................135
,9 mana(ement actions...................................................13%
:
:ide ,itered -racks............................................................2
:ide in ;oth 3/* and -/*................................................2
:ide <nseected -racks.......................................................2
4
4ncrease&decrease 1oume.................................................133
instain( SWS e8tensions..................................................13
4n1ert phase......................................................................13$
item editin( macros ...........................................................$2
item in0o 0oatin( toobar....................................................23
item states...........................................................................2%
=
ke6 maps, e8portin(............................................................3.
ke6 maps, importin(...........................................................3.
ke6board shortcut assi(nments, printin(............................16
ke6board shortcut assi(nments, 1iewin(............................16
ke6board shortcut, assi(nin( actions to..............................17
ke6board shortcuts, remo1in(.............................................17
L
L,> (enerator....................................................................37
Link -/* and 3/*.............................................................2
Load 3arker Set.................................................................57
oop actions.........................................................................2'
3
marker actions....................................................................56
3arker List ,ormats...........................................................6$
3arker List modue............................................................55
3arker Sets.........................................................................5.
3arker <tiities............................................................55, 57
markers, cop6in( between pro!ects.....................................61
master track, actions 0or.....................................................3$
media 0ies mana(ement.....................................................2$
3edia *oo.......................................................................125
3edia poo 0ies................................................................125
3edia *oo 0ies, addin(...................................................127
3edia poo (roup t6pes....................................................125
3edia *oo (roup, creatin(..............................................126
3edia *oo items, usin(...................................................12.
memor6 sots......................................................................2%
menus, custom....................................................................15
3i8in( Snapshots...............................................................%3
mute status, to((e............................................................13$
?
na1i(ation actions...............................................................16
>
>pen pro!ects 0rom ist.......................................................$%
ordered custom coors.........................................................6.
or(ani7in( pro!ects.............................................................$7
*
pannin(.............................................................................133
pannin(, chan(in(.............................................................133
*aste marker set 0rom cipboard.........................................57
pre1iew media item............................................................2%
*ro!ect List ".)*L# 0ie.......................................................$%
pro!ect ists ........................................................................5'
*ro!ect 3edia ,ies window...............................................2$
pro!ect tempates, oad actions............................................36
pro!ects, or(ani7in(............................................................$7
)
random custom coor .........................................................6.
)ea/onsoe.......................................................................131
)ea/onsoe commands.....................................................132
)ea/onsoe, Auto/ompete.............................................137
)ea/onsoe, custom commands.......................................137
)ea/onsoe, ,oder&/hid................................................137
)ea/onsoe, 4n1erted -rack Seection..............................137
)EA*E) 3enu 0ies...........................................................3.
)EA*E) menus, customi7in(............................................26
)EA*E) 3enuSet 0ies.....................................................3.
)EA*E) pre0erences and settin(s......................................15
)EA*E)+s Actions menu...................................................16
)EA*E)+s menus, assi(nin( actions to..............................16
)EA*E)+s toobars, assi(nin( actions to...........................16
recei1es, actions 0or mana(in(...........................................3$
record input, set................................................................13$
recordin( actions................................................................3'
)eated pro!ect ist..............................................................$%
reated pro!ects..............................................................$%, 53
)eorder marker 45s............................................................57
)eorder re(ion 45s.............................................................57
S
sampe pro!ect 0ies, downoad ..........................................12
Sa1e ist o0 a open pro!ects...............................................$%
Sa1e 3arker Set.................................................................57
Seect and )eca Snapshot.................................................%$
sends, actions 0or mana(in(................................................3$
Set chidren to same coor..................................................6.
Set to random custom coor...............................................6.
Set to coor (radient............................................................6.
Set to custom coor ............................................................6.
Set to one random custom coor.........................................6.
Set to ordered custom coors..............................................6.
Set to ordered custom coors per track................................6.
Set 1oume .......................................................................133
shortcut ke6s, assi(nin( to actions......................................16
Show A -racks..................................................................2
Show in ;oth 3/* and -/*...............................................2
Show >n6 in 3/*.............................................................2
Show >n6 in -/*...............................................................2
Show )ecent Actions.........................................................1.
Show SWS Snapshots..........................................................2
simpe actions.....................................................................15
smart marker actions...........................................................25
smart markers.....................................................................2.
Snapshot actions...............................................................123
Snapshot /urrent @isibiit6.................................................2
Snapshot /ustom 3acros.................................................123
Snapshot 5etais.................................................................%$
Snapshot menu.................................................................11%
Snapshot *aste Window...................................................115
Snapshot *aste, rues........................................................121
Snapshot, Add Seected -racks..........................................%$
Snapshot, /op6...........................................................%5, 115
Snapshot, cop6 new..........................................................11%
Snapshot, 5eete.................................................................%$
Snapshot, 5eete Seected -racks.......................................%$
Snapshot, Edit ?ame..........................................................%$
Snapshot, E8port.........................................................%5, 115
Snapshot, ,iters.................................................................%6
Snapshot, 4mport.........................................................%5, 115
Snapshot, >1erwrite...........................................................%$
Snapshot, *aste...........................................................%5, 115
Snapshot, )eca.................................................................%5
Snapshot, Sa1e....................................................................%$
Snapshot, Seect and )eca ...............................................%$
Snapshots............................................................................%3
Snapshots Window.............................................................%3
Snapshots, Add A -racks to...........................................11%
Snapshots, Add Seected -racks to...................................11%
Snapshots, 5eete Seected -racks 0rom...........................11%
snapshots, e8portin(.........................................................122
snapshots, importin(.........................................................122
Snapshots, Sort List............................................................%$
soo, to((e.......................................................................133
Standin( Water Studios......................................................12
SWS /oor 3ana(ement ...................................................67
SWS e8tensions..................................................................11
SWS E8tensions, instain(.................................................13
SWS 4tem /oor.................................................................67
SWS 3arker List................................................................55
SWS 3arker <tiities.........................................................55
SWS 3edia *oo..............................................................125
SWS *ro!ect List window.............................................$%, 52
SWS )ea/onsoe..............................................................131
SWS -rackist mana(er.......................................................1
-
-ake 3i8er.........................................................................31
takes, actions 0or mana(in(................................................31
-/* /onte8t menu...........................................................11%
time seection actions.........................................................2'
time seection cut&cop6.......................................................36
-o((e )uer red whie recordin(.......................................3'
-o((e seect tracks..........................................................133
toobars, custom..................................................................15
track coor.........................................................................135
-rack 0ree7e macros.........................................................1$1
-rack ist 0ormat ................................................................57
track maan(ement actions..................................................33
track mana(ement................................................................1
track name, add pre0i8......................................................135
track name, add su00i8......................................................135
track name, set..................................................................135
-rack Seection, 4n1ert........................................................2
track sots............................................................................2%
track tempates, oad actions...............................................36
-rack un0ee7e macros.......................................................1$1
-rack @iew screen sets........................................................1
-rack @iew Screen Sets.......................................................%
-rack 1isibiit6 snapshots....................................................7
-rack @oume, chan(in(..................................................133
-rackist actions..................................................................3
-rackist coumn headers.....................................................3
-rackist commands and options.........................................2
-rackist ,iter ;o8..............................................................2
-rackist ke6board shortcuts................................................7
-rackist mana(er................................................................1
-ransport record&stop..........................................................3'
9
9enakios.............................................................................11
9enakios e8tensions...........................................................21
A
7oom actions.................................................................16, 1%

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