I would like to transfer some of the projects I've started on the laptop to my recently aquired DAW computer. I suppose I need to transfer the peak-files, the wavs and the project files from the "Reaper Media" folder, but how do I know which files goes with which project? There are about files in that folder. A few of them have easily recognizable names, but they're mostly numbers. I guess I could just copy the whole thing but I want to start fresh now that I've finally got a dedicated room and computer. There is a way to do this mate and it's easy.
Create a New Folder somewhere e. Open the Project in Reaper. Click File and then Save Project As. Navigate to the file you created in step 2.
Then name the Reaper file you want to save it as e. This will save your song Project into that new file and shift all the files over for it and they will load up straight from that folder in future. I got into a mess like that once but I found it good practice to start a session by creating a new project folder, saving my project and getting my files saved into one place right off the bat. The exact position of some of them will vary with track control panel width.
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You can hover your mouse over any control for a tooltip. If some of these controls are not visible, you may need to increase the track panel width or height. Hover your mouse over the right or lower panel boundary so that your mouse cursor becomes a double headed arrow, then click-drag to the right or downwards.
Depending on your track layout, the volume control may be a rotary control as shown above or a horizontal fader. Also, you might see a rotary width control next to the pan control as shown, right : if so, ignore it for now. We'll get to it in later chapters. In fact, all of these controls will be explained further as you work thru this guide.
Before you can record or play anything, there are a few setup options that have to be specified. This section covers setting up audio. In addition, it is also advisable to disable System Sounds.
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Windows users should use the Control Panel. If on the other hand you plan to use the PC's internal sound card, you should familiarize yourself with its control software usually opened from the Windows Control Panel. This is especially important to prevent previously recorded material from being mixed back in, and re-recorded with, new material when more tracks are later overlaid. For more information, see en. Saffire has therefore been selected so as to ensure that this device is used for both input and output.
MIDI Is Old
You can as shown here set the sample rate and block size which helps determine latency here, or you can independently open the device's own control panel and set them there. If unsure, set these at and to begin with. If you wish to use the Mac's internal sound card, you may need to take steps to prevent existing material being mixed back into, and re-recorded with, additional tracks when they are added later.
To do this, you will need an aggregate device. Add to this aggregate device the built in input and built in output as shown here. If you wish to rename it, double click on the text Aggregate Device. You will now be able to use your headphones with the computer's audio out socket and your microphone with its audio in socket. Using an aggregate device can also resolve other routing issues which can arise when using built-in inputs and outputs.
This is the ability to give your own names to your audio inputs. It can be used to shorten the long names that the system will often give to these inputs, especially when your device supports multiple inputs. Input Aliasing is accessed from the Audio Preferences screen. This enables you to give names to your audio outputs, names that make sense to you. This is especially useful if your sound card or other audio device provides multiple outputs.
For example, one pair of outputs might be connected to your control room monitors, another to studio monitors, and a third pair to a multi-output headphone monitor. By default, your outputs will have names something like those shown here above right.
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Clearly, these names are not very useful to you. By assigning aliases to these outputs, you can ensure that whenever you need to list them for example, when determining the destination of the output from your Master your own names will be displayed, instead of the hardware device names. The topic of actually assigning outputs to tracks will be covered later, beginning with Chapter 2. This enables you to assign your own name or alias for the device, or to specify your advanced timestamp options if required. You can also Enable input for control messages if you wish to use the device as a MIDI controller — see also Chapter Where several devices are present input or output you can clcik on any column header Device, Mode or ID to sort the device list in that order.
The device list may include items that are not present. For these you have an option to Forget device. To assign your own name or to specify a time offset for any MIDI Input or Output device, right click over the device name and choose Configure Input or Configure Output from the context menu. The use of Control Devices will be explained later in this guide, notably in Chapters 12 and These affect only hardware devices.
You can see that there are other Audio Preference screens that we have not yet examined, including Buffering, Playback and Recording. These will be dealt with later in this User Guide, particularly in Chapter When getting started, you should be able to just leave these settings at their defaults, only returning to change them later if you find that you wish or you need to do so. When finished, clicking on OK will, of course, close the Preferences box and cause your settings to be remembered.
This section has covered the general issues involved in setting up your system for working with MIDI.
For project specific settings and options, see Chapter 2. In particular, if you are working primarily with MIDI material you may wish to change the default project timebase setting. This too is explained in Chapter 2.
There's one further Preferences screen you will probably want to visit before you get started - VST Plug-ins. Note that VST3 plug-ins should be kept in a directory or directories separate from other plug-ins. You can use the Auto-detect button to locate your plug-ins, but if they are spread across several directories REAPER might not find them all.
In this case, you can click on the Add button to specify the location s of the folder s where your other VST plug-ins are stored. You can leave most other settings as they are at least for now. If not, you should add them. Windows does not locate any such folders for you.
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You will need to identify and specify where your VST plug-ins have been installed. If your VST plug-ins are spread across more than one folder this is not unusual , you will need to use the Add button several times, each time selecting one of your folders. Use the OK button in the Browse for folder window each time after selecting the folder name. You can also return to this screen at any time and add more VST folders later.
Specify the extra location s of your VST plug-ins, then Re-scan then Apply then OK to close this screen and cause your new settings to be remembered. If it finds two or more with identical names, it will select the last one that it finds. However, if both are named identically, only the last one found will be installed.
For this reason, it can make sense to place your VST3 directory last in the list as shown in the example above.
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For example, Windows 7 behaves differently from XP. Shown here is an example of the OSX Finder path. The Windows Explorer display is similar. Several of these files will be referenced elsewhere in this guide. Meanwhile, you might find the information in the following table helpful:. There's one more thing that might interest you here. Not in Philippines?
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