Online Guitar Tuner

One of the many online guitar tuners available is at http://www.123guitartuner.com/
With so many people having smart phones, this is easy to get to and use.

Link: http://www.123guitartuner.com/

Reaper Lesson: Non-stop Recording

Non-stop Recording

Cockos Reaper Tips & Techniques

Published in SOS September 2010
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Technique : Reaper Notes

 

Use Reaper to create an always-on recorder that captures all the inspiration, but none of the chit-chat.

Malcolm Jacobson

All of the ‘Save live output to disk’ options are available from the one window.

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Remember those spontaneous performances when everybody is relaxing during the break, or those moments of inspiration that come while you’re auditioning one of 300 synth patches? It’s a fair bet you weren’t recording when they happened — so wouldn’t it be great to have a recorder that’s always on, ensuring that you never miss an opportunity again?

When DAT tape became a cheap recording method, I got into the habit of always leaving a DAT machine in record, patched across the mix bus, whenever a session was taking place. In addition to proving an interesting archive of all of the studio chat, it provided a backup recording of the performances that happened in between takes. There were many times when the ‘always running’ live recording managed to capture creative ideas and inspirations and, on a few occasions, these moments even made it to the final CD.

In this article, I’ll show you how to use Reaper’s ‘Save live output to disk’ feature so that you can capture these moments of inspiration whenever they happen, using your own ‘always-on’ recorder. First, to set up background recording, select File / Save live output to disk (bounce) or use the keyboard shortcut Ctrl-Alt-B.

All of the ‘Save live output to disk’ options are available from one window, which offers a surprising number of background recording options. We’ll start with the basic settings.

Output Formats

The first thing you need to decide on is the output format. By default, the background recording runs at 24-bit in WAV format, but you can change this to any of the uncompressed or lossless formats that are supported by Reaper.

Select your preferred format from the Output Format drop-down list. You can also downmix to Mono, or output to up to eight channels by selecting an option from the Channels list.

Selecting WAV as the output format presents you with a further list of options for the bit rate and file format. I usually choose 16-bit, Wave64, as I don’t need full resolution for these files and I don’t want to keep coming back to change settings if the recording ends up running for hours.

If you’re restricted for space, try selecting MP3 or FLAC, or lower bit depths for WAV, to limit the file size.

Finally, click the Browse button to select an output file and directory.

In The Background

When you’re ready to start recording, click the Start button. The window will disappear and any audio that passes through the master bus will be recorded to the selected file. You’ll soon forget all about the recording that’s happening in the background.

Since there’s no visible indicator in the Reaper user interface to show that the ‘Save live output to disk’ function is on, it’s easy to forget that you started it minutes, or possibly hours earlier. Even with a large reserve of hard drive space, you might wonder if you’re setting yourself up for one of those nasty ‘Out of disk space’ error messages. Luckily, some of the other options in the ‘Save live output to disk’ window will help you avoid this situation, by automatically limiting the file size.

Selecting the ‘Save output only while playing or recording’ option will halt the recording whenever the transport is stopped. This is a great option if you don’t need to record the chatter between takes, but still want a backup of the playback or recorded audio. Be aware, though, that there won’t be a gap between pauses in the output file, so don’t use this option if you want clean recordings of the output from the master bus.

Selecting ‘Stop saving output on first stop’ will automatically stop the recording the first time you stop the transport, after starting the background recording. This option might come in handy if you’re using the ‘Save live output to disk’ option as a backup while recording a live performance.

Voice Activation

Selecting the ‘Don’t save when below’ option turns Reaper into a level-activated recorder, ideal for dialogue-recording situations where you need to capture everything people say, but don’t need to record the pauses in between conversations.

Reaper will pause the recording each time the master bus level drops below the threshold value, for the selected duration, then recommence recording once the level rises above the threshold.

In the example, the final file runs for just on two minutes, even though the ‘Save live output to disk’ option was enabled for over half an hour. Using the ‘Don’t save when below’ option generated quite a small file from over 30 minutes of recording.

Using the ‘Don’t save when below’ option generated quite a small file from over 30 minutes of recording.

Since large-capacity drives are now readily available for little more than a nominal investment, it might be a good idea to purchase a drive to keep your always-on recordings separate from your main projects. With so many situations where an always-on or level-activated recorder can come in handy, it’s quick and easy to have this operating as a permanent feature of your Reaper recording setup.  0

In The Spotlight

Nudge/Set: Precision editors will love the new Nudge dialogue introduced in version 3.60, accessed by selecting ‘Nudge selected items’ from the right-click Item menu. Items can be offset from their current location (in either direction) by the selected Nudge amount, or moved to a defined timeline position by using the Set option.

Nudge/Set operations can be applied to the item start, end, trim, position or contents, and can also be used to create duplicates of the selected item at the defined position. Adjustments can be made down to the sample or frame level.

Better Transport: The mouse wheel can now be used to adjust the start, end and position of time selections when hovering the cursor over the desired field in the transport. Pressing Alt while using the wheel adjusts the value in beats. The project tempo and time signature have also been added to the transport, and can be edited without having to go to Project Settings.


Source: http://www.soundonsound.com/sos/sep10/articles/reaper-workshop-0910.htm

Reaper Lesson: ReaGate Noise Reduction

ReaGate Noise Reduction

Cockos Reaper Tips & Techniques

Published in SOS May 2011
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Technique : Reaper Notes

Reaper’s ReaGate has hidden talents that make it much more than a simple noise‑reduction facility.

Mike Senior

In my view, a lot of DAW users unduly neglect the humble gate at mixdown, dismissing it as merely an outmoded noise‑reduction utility. This is a shame, because ReaGate, in particular, does so much more besides this that I usually have several instances going on every mix I do. So in this article I want to give a few examples of this plug‑in’s hidden talents. There’s not space here to cover the basics of gating, so if you’re new to it, check out the article back in SOS April 2001: it’s free to view in the SOS article archive at www.soundonsound.com/sos/apr01/articles/advanced.asp. Assuming, then, that you understand how the Threshold, Attack, Release, Hold and Range controls of a gate can be used to remove noise and spill in a recording, the only thing to clarify in the first instance is that, although ReaGate appears to have no Range control, you can still implement limited‑range gating using its Wet and Dry sliders.

Pre‑open, Hysteresis & Side‑chain Filtering

The first thing that sets ReaGate apart from many other gates is the Pre‑open control, which causes ReaGate to respond earlier than it would normally.

The secret to ReaGate’s most useful mix applications lies in its ability to select an external side-chain input, which you can see here. Other features that make ReaGate stand out from the crowd are the positive values available on the Hysteresis control and the Pre-open parameter, which provides a ‘lookahead’ function — great for preserving the attack of close-miked drums even when there’s lots of unwanted spill.

This is great for reducing spill on snare‑drum close mics, because it lets you set a high threshold to avoid the spill without the risk of the gate opening late and clipping off the drum’s initial transient.

The Hysteresis control is also great, because it effectively creates independent threshold levels for opening and closing the gate. A negative setting here lowers the closing threshold relative to the opening threshold, and is a well‑known method of combating sporadic bursts of opening/closing (often called ‘chattering’) when a signal hovers around a fast‑attack gate’s threshold level. However, ReaGate is very unusual in that it offers positive Hysteresis settings too, and if you max out the Hysteresis slider you effectively turn the gate into a triggered envelope generator, which can be very useful in certain scenarios. For example, an old mixing trick is to set up a gate as a send‑return effect, fed from the kick drum, and then to set it up to create a little 10‑20 ms ‘blip’. Adding this to the mix increases the drum’s attack, and you can easily adjust the frequency content of that attack by EQ’ing the ReaGate channel. However, if your kick drum has any level variation in it (as live parts certainly will), you’ll get undesirable variations in the length of the ‘blip’, and therefore the nature of the added attack. Add positive Hysteresis, however, and the added attack becomes completely consistent.

What really gives ReaGate its power, though, is the control it gives you over the signal that’s sent to its internal level detector (or ‘side‑chain’). For a start, the built‑in filters can quickly remove kick and hi‑hat spill from the side‑chain when you’re gating a snare close‑mic recording, improving the triggering reliability. It’s easier to hear what you’re doing if you click the Preview Filter Output button to audition the side‑chain on its own. However, if these filters aren’t man enough for the job, you can use ReaEQ instead.

First select Auxiliary Input L+R from ReaGate’s Detector Input drop‑down, and then insert an instance of ReaEQ above ReaGate in the effects window. Click ReaEQ’s routing button (labelled ‘2 in 2 out’). Now click the little plus sign in the routing window to increase the number of Track Channels, and then change the plug‑in’s output setting from 1+2 to 3+4.

You can route a send to ReaGate’s external side‑chain input by sending it to Track Channels 3+4.

Automated Mix Balancing

Nice though all these things are, the most useful application of ReaGate for me is in automated mix balancing. Let me explain. Imagine you have a drum overheads recording where the cymbals are overpowering the snare. Most people’s first instinct is to rebalance this by using the snare’s close mic, but that mic usually just goes ‘donk’, rather than sounding like a real snare drum. A better solution is to boost the level of the overheads during each snare hit, giving you more of the natural sound of the snare in the room.

The way to do this is to insert ReaGate into the overheads channel and then feed its side chain from the snare close‑mic. Switch ReaGate’s Detector Input to ‘Auxiliary Input L+R’, and then drag the snare track’s IO button to the overheads track to create the required send. When the little send controls window pops up, take the opportunity to do two things:

Change the ‘=> 1/2’ setting to ‘3/4’, using the ‘New Channels On Receiving Track’ submenu. This ensures that the snare close‑mic signal is fed to the ReaGate side‑chain inputs.

Change the ‘Post‑fader (Post‑pan)’ setting to ‘Pre‑FX’. Although this isn’t strictly necessary for triggering purposes, it does mean that mix tweaks to the snare channel won’t make a nonsense of your ReaGate settings.

Now adjust the ReaGate controls to try to get a reliable burst of overheads signal occurring on each snare hit. Once you’ve achieved that, pull the Wet slider right down and set the dry signal to 0dB, so that the gate is doing precisely nothing. From this starting point, slowly inch up the Wet slider during playback until you get a better snare level in the balance. Bear in mind, though, that there’s only so far you can usually go with this dodge before the gating begins to sound unnatural (above about 6dB, usually), and you may also need to work a little with the ReaGate Release control to get the most musical‑sounding snare decay.

Ducking At Mixdown

An extension of this auto‑balancing idea is made available by the ‘Invert Gate’ tick box under ReaGate’s Wet slider. What this does is polarity-invert the wet signal relative to the dry signal, so that they phase-cancel whenever the gate is open. The practical result is to turn the gate into a ducker, a processor that is rare in software form but extremely useful at mixdown.

The unassuming little ‘Invert Gate’ tick box converts ReaGate into a ducker, which is another very useful, and frequently underestimated, mix processor.

The classic application for ducking is clearing space in a guitar‑heavy mix for the lead vocals; it makes the singing clearer by turning down the guitars during vocal phrases. You set it up almost exactly as in the previous snare example:

Insert ReaGate on your guitar submix channel, feed its side‑chain from the lead vocal, and activate the Invert Gate facility.

Set up reliable triggering from the vocal. To hear what you’re doing clearly, keep the Wet slider at 0dB and pull the Dry slider all the way down.

Once the triggering’s sorted out, pull down the Wet slider and set the Dry slider to 0dB, then play back your mix and slowly increase the Wet level to subtly introduce the ducking.

If you want to know how much you’re ducking, check the Range table. Again, you can usually only push this effect so far before it sounds unnatural, but that’s not too much of a bind, as even a decibel or two of ducking can still make a considerable difference to the vocal sound.  0

Audio Files Online!

For audio demonstrations of these techniques, go to www.soundonsound.com/sos/may11/articles/reaperaudio.htm.

MIDI Output

It’s easy to generate MIDI notes from a drum part using ReaGate’s Send MIDI On Open/Close option, whereupon you can use the simple ReaSamplOmatic sample player to trigger a replacement sound.

Although there are now many sophisticated software drum replacers available, I have to say that I still end up using ReaGate for this most of the time. All you have to do is tick ‘Send MIDI on Open/Close’, and the plug‑in will squirt out a user‑specified MIDI note whenever the gate opens. Follow ReaGate with ReaSamplOmatic5000: for quick results in ReaSamplOmatic5000, load in a sample (from the Browse button), select ‘Sample’ in the Mode drop‑down menu, and untick the ‘Obey Note‑off Messages’ option. Admittedly, ReaGate doesn’t provide any fancy MIDI velocity options, but I rarely miss those in practice, and what ReaGate does offer is masses of features aimed at making its triggering reliable, which I find much more important in most situations.

Source: http://www.soundonsound.com/sos/may11/articles/reaper-tech-0511.htm

ReaGate Noise Reduction | Media

Cockos Reaper Tips & Techniques

Published in SOS May 2011
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Technique : Reaper Notes

 

Using Reaper’s ReaGate Plug-in: Audio Examples

In May 2011’s edition of Sound On Sound, we looked at using Reaper’s bundled gating plug-in — ReaGate. Here, Mike has supplied audio examples to demonstrate the techniques used in the workshop, which can be read in full by going to www.soundonsound.com/sos/may11/articles/reaper-tech-0511.htm.

Download | 3 MB

The first set of audio examples show how the side-chain filtering and Pre-open facilities of Reaper’s ReaGate can be used to deal with a challenging spill-reduction task.

Snare01_Ungated

Here’s a live snare-drum close-mic recording. As you can hear, there’s masses of hi-hat and kick-drum spill, which I want to reduce.

Snare02_Gate

For this file, I’ve applied ReaGate, using 0ms Attack and 44ms Release settings so that I can hear the triggering action clearly. (I’ve also dialled in 3ms of Hold time to reduce gate chattering, in the light of the fast attack/release times.) I’ve set the Threshold to -27dB, which is as high as I can get it without losing any of the snare hits, but despite this both the kick and hi-hat parts are causing the gating to misfire.

Snare03_Gate_SCFilters

To improve the triggering, I use ReaGate’s built-in side-chain filtering options to reduce the levels of kick-drum and hi-hat spill in the detector signal. Setting the Highpass slider to 674Hz and the Lowpass slider to 4869Hz does the trick, as you can hear in this example: the gate now opens only when it should.

Snare04_Gate_FilterListen

In order to set up ReaGate’s side-chain filters for the Snare03_Gate_SCFilters example file, I engaged the plug-in’s Preview Filter Output button so that I could audition the filtered detector signal directly and refine them by ear. Here’s what the side-chain signal sounded like by the time I’d finished refining the Highpass and Lowpass settings. Although it sounds nasty and boxy, it does give the snare a balance advantage for detection purposes. Compare this with the Snare01_Ungated file to remind yourself of the original unfiltered spill levels.

Snare05_Gate_PreOpen

Although the gate in the Snare03_Gate_SCFilters audio example is now triggering only on the snare hits, its Threshold has had to be set so high that the gate is slicing off a little of the initial snare transient, even with a minimum 0ms Attack setting. ReaGate’s Pre-open facility provides a way to improve this aspect of the processed sound. In this example I’ve applied 6ms of Pre-open, which helps the drum onset sound crisper.

Snare06_Gate_Smooth

So far I’ve deliberately kept ReaGate’s Release setting short and its Dry slider all the way down so that I could easily hear the finer points of the gating action. However, in practice a longer release time will give a more musical-sounding snare decay, and the gating range needn’t be nearly so extreme: some spill between the mics in a drum kit is usually beneficial to the sound, so all you really want to do is reduce the spill on this snare close-mic to a more suitable level. In this audio example I’ve attended to both these issues, setting the Release to 115ms and reducing the gating range to 8dB (Wet slider at -4.4dB, Dry slider at -8dB). Compare this to Snare01_Ungated to hear how far we’ve come from the original recording.

Kick01_Raw

This audio example contains a section of the kick-drum close-mic track of a live drum recording. As you’d expect of a real performer, there is some inconsistency in the bass-drum levels through the track.

Kick02_ParaGate

One way to add low-end attack to a kick-drum sound is to set up a fast gate as a send effect to isolate a little ‘blip’ from each hit, EQ that blip primarily into the low-frequency region, and then mix it back in with the unprocessed kick sound. This audio example demonstrates the kind of sound such a gated send channel would have when fed from the kick-drum track in the Kick02_Raw audio file. The processing comprises an instance of ReaGate (Attack: 0ms; Hold: 22ms; Release 6ms) followed by a 940Hz low-pass filter in ReaEQ. Note that the weight and tone of the blip changes from hit to hit in response to the inherent level changes in the live performance.

Kick03_ParaGateMix

This audio file shows how the gated send in the Kick02_ParaGate example enhances the raw kick-drum sound of the Kick01_Raw file when they are mixed together. Again, note the inconsistency of the low-end attack.

Kick04_ParaGateHysteresis

This file demonstrates how the ‘blip’ in the Kick02_ParaGate example can be made to sound more consistent when ReaGate’s Hysteresis is increased to its maximum value of +24dB, effectively transforming the gate into a triggered envelope generator.

Kick05_ParaGateHysteresisMix

Here you can listen to the effects of the Kick04_ParaGateHysteresis file’s improved gated send processing when it is mixed with the unprocessed kick-drum recording of the

Kick01_Raw file. Compare this with Kick03_ParaGateMix to hear the difference in consistency at the low end.

Overheads01_NoGate

Here’s an example of a drum overheads track, recorded from Toontrack’s Superior 2 virtual instrument, where the cymbals are overpowering the snare-drum sound.

Overheads02_Gate

Inserting an instance of ReaGate on the overheads channel and then triggering it from one of the snare close-mics is able to significantly increase the snare level in the overheads balance.

Ducking01_NoDuckingFullMix

This section of a full mix contains a lot of overdriven guitar parts, which make it difficult to retain vocal clarity.

Ducking02_NoDuckingGtrsSolo

Here are the two main guitar parts within the Ducking01_NoDuckingFullMix file. Note that they are currently pretty consistent in level throughout this section of the production.

Ducking03_DuckingGtrsSolo

Inserting ReaGate on the guitar tracks, switching the gate’s operation to ducking using the plug-in’s Invert Gate tickbox, and then feeding the detection side-chain from the lead-vocal part results in the following ducked guitar sound. Notice that the ducking is pretty obvious when heard in isolation like this.

Ducking04_DuckingFullMix

Here’s a version of the full mix previously heard in the Ducking01_NoDuckingFullMix example file, but with the guitars ducked along the lines audible in the

Ducking03_DuckingGtrSolo demonstration. Note how the ducking is much less obviously audible within the full-mix context than when the guitars were soloed, but nonetheless significantly increases the sense of lead-vocal clarity.  0

Published in SOS May 2011

Source: http://www.soundonsound.com/sos/may11/articles/reaperaudio.htm