[RWP] Automation

[Scott Chesworth]

Jim,

Yep, I'd love to see that project happen. In fact, I'd donate
vigorously to see that project happen.

Ivan was always closed and mega cagy about the development process,
but I can tell you that he had no direct contact with the Reaper
developers until after the first few public releases of ReaAccess, and
even after that, the communications were limited to fixing a couple of
bugs related to unexpected strings being returned by some of the API
calls he was initiating. Again, I wasn't clued up on the details, but
I think I remember the feature that was broken at the time being
fixed. So far as I know, he worked from the documentation they provide
related to ReaScript, hooking into their API, trial and error, and
perhaps a bit of voodoo lol.

ReaAccess proves that the opportunity is there for anyone who has the
time and skills I guess. I have enough love and enthusiasm for Reaper
to force the former to exist, but am let down by my lack of skills in
the latter. Zero percent code chops.

Hth somehow

Scott


On 5/27/13, Jim Snowbarger <Snowman at snowmanradio.com> wrote:
> Yes, I have  been unable to fully understand  latch mode,  and the published
>
> description does seem to vary from experience.
>
> I keep wondering about ReAccess.  It seems like, since we can't be allowed
> to obtain the Reaccess source code, that one could essentially start over
> with it.  That's what we need a programmer for.
> What documentation was Ivan able to obtain from the cockos people that
> allowed him to write ReAccess.  Can we obtain that same documentation?
> Maybe,  we already have it, and don't know it.  That's what I would like to
>
> see.  A ground up, complete start over with Reaccess, with the source code
> firmly in the public domain.
> Because, frankly, I'm tired of not being able to bitch.
>
>
>
> ----- Original Message -----
> From: "Chris Belle" <cb1963 at sbcglobal.net>
> To: "Reapers Without Peepers" <rwp at reaaccess.com>
> Sent: Sunday, May 26, 2013 8:40 PM
> Subject: Re: [RWP] Automation
>
>
> As far as I can tell, automation is not recorded in read mode.
>
> I've only gotten it to take effect when doing the moves in write mode and
> then going to read mode to get them to
> work, that seems to conflict with the manual, but that's why it's so
> important to actually get hands dirty and not just cut and paste stuff.
>
> It also might be a version difference, and I'm working with the last
> sanctioned version of reaaccess which is 3.78.
>
> Unexpected things can happen when using mismatched tools, not always to our
> benefit.
>
> But in the spirit of exploration, one can't be faulted for using the latest
> and greatest.
>
> As long as one knows the risks.
>
> And to
> be truthful, reaaccess was a work in progress, not exactly a comprehensive
> access package.
>
> But for free, we can't bitch.
>
>
>
> ----- Original Message -----
> From: "Indigo" <33indigo at charter.net>
> To: "Reapers Without Peepers" <rwp at reaaccess.com>
> Sent: Sunday, May 26, 2013 3:06 PM
> Subject: [RWP] Automation
>
>
> Hi Jim,
> I think I was doing automation correctly with on-screen controls.
> They're just awkward compared to a control surface fader.
> A little later I'll post the instructions for setting a mouse scroll
> wheel to do automation, everybody must have a practically unused
> physical mouse around; if nothing else featuring a fader-like control.
> Here's an explanation of the difference between Trim, Latch, Write modes:
>
> snip:
> Automation envelopes are used to save and replay movements of track and
> FX parameters during playback.
> ?These changes can be added to envelopes manually (using the mouse) in
> Read mode, or written to envelopes as you adjust the track and FX
> parameter controls themselves, either with a mouse or using a control
> surface device (in Write, Latch or Touch mode).
> ?The differences between the different automation modes are summarized
> in the table below.
> ?In Write, Touch and Latch modes, any FX parameter rack controls that
> have been added to the track panel (in TCP or Mixer view) can be used to
> write automation.
> ?Regardless of which method you use to create your envelopes, they can
> be afterwards be adjusted and edited either manually; (Read mode); or by
> further tweaking the track control parameter; (Touch or Latch modes).
> ?Envelopes can be displayed either in individual lanes or above the
> media item itself.
> Automation Mode
> Description
> Trim/Read
> Existing envelopes are applied, but on-screen controls do not move.
> Trim/Read mode might seem strange at first, but it does bring you a
> useful benefit. You can use a track’s controls for overall changes.
> For example, adjusting a track’s Volume fader in this mode will raise or
> lower the volume for that whole track relative to the envelope. In
> Trim/Read mode fader movements are not recorded: they are adjusted in
> the same way as when no envelope is present.
> Read
> Applies envelopes and moves controls for armed items; but does not write
> or remember any changes that you make to them.
> Latch
> Writes and remembers any changes that you make using the parameter
> controls (for example, an FX parameter fader control), and creates new
> points on existing track envelopes. Changes commence when you first
> adjust a setting, and continue to be remembered until playback stops.
> Touch
> This is similar to Latch, but stops making changes to envelope points
> when you stop adjusting them.
> Write
> Writes and remembers current settings as edit points, along with any
> changes that you make to parameter values for armed items during playback.
> In this mode, previously written envelopes for armed items will be over
> written.REAPER's Envelope preferences include an option to automatically
> switch to another mode immediately after recording automation in Write
> mode. By default, it will switch to Trim/Read.
> If you are unsure about any of these basic issues you can find out more
> by consulting the User Guide.
> Parameter modulation works on a different principle. It does not record
> and replay absolute value for a track or FX parameter, but rather uses
> the value of one parameter to control another dynamically and in real
> time. For example, parameter modulation can be used to automatically
> increase a compressor's compression ratio on a vocal as that vocal gets
> louder, and to decrease it as it gets quieter.
> 12.2Envelope Preferences
> The Envelope preferences settings are described in the User Guide
> (Chapter 19). As you check thru them (either in the guide or in the
> above screenshot), a reasonably experienced user will find that many of
> them should require no further explanation. However, some of these
> options, though important, are quite subtle and their reason for being
> there might not be so obvious. For example:
> Envelope point selection follows time selection for the active envelope
> In most cases I would recommend enabling this option. This will ensure
> that when you make a change to your time selection, envelope points
> within the new time selection will automatically be selected on the
> active envelope.
> This is illustrated below. Notice how when the time selection is
> changed, so is the envelope point selection.
> Notice how when the time selection is changed, so are the selected
> points on the currently selected envelope.
> This is very handy for those times when you want to adjust together a
> range of envelope points in a particular part of your project.
> Add edge points when moving envelope points
> This setting determines how REAPER behaves when you move a range of
> envelope points. It can be used to resolve the question of whether the
> transition should become a smooth one or a sudden one.
> This really is one of those cases where a picture is worth a thousand
> words:
> In the first (top) picture, a group of four envelope points have been
> selected/
> In the second (middle) picture, the segment between the second and third
> selected point has been lowered, with the option to add edge points
> enabled.
> In the third (bottom) picture, the same segment has been moved, but this
> time with this option disabled.
> Just as important as the envelope preference setting here are your mouse
> modifier preferences for Envelope segment left drag.
> Shown here, assuming that in your preferences you have turned this
> option off, you can still use Shift Altwhen dragging to over-ride the
> normal default setting.
> When adding volume/pan envelopes, apply trim to envelope and reset trim.
> This is not an easy one to explain. Take your time to understand it: if
> you work with volume and/or pan envelopes you will find it useful.
> Let's take the track shown here as an example. It's a reverb bus.
> Notice, as is not uncommon with such busses, that the volume fader has
> been set to quite a low level.
> Let's assume that this preference option is set to Never. This is what
> happens when we add a volume envelope.
> The envelope displays 0.00 dB: this is relative to the track volume
> fader. It is located vertically at the mid-way point of the envelope
> lane. Another way of thinking about it is to say that the envelope
> setting is currently the same as the track fader. If you raise the
> envelope by, say 5 dB for part of the song, then that 5 dB will be a 5
> dB increase on whatever the track fader reads. This method of working
> makes it easy to make adjustments above and below the envelope.
> In this second example, the preference is set to Always. The envelope
> displays the real decibel setting – in this example -23.5 dB – whilst
> the track volume fader now reads 0.0 dB. Any adjustments that you make
> to the envelope will be shown on that envelope – and any adjustments
> that you make to the track volume fader will be relative to the envelope.
> Note that in both cases, adjusting the envelope lane fader will affect
> the volume for the whole track. In both cases, the envelope will be
> physically moved up or down. In the latter case, the envelope points and
> segments will reflect the actual decibel levels. In the former case, the
> values displayed will be relative to the track fader level.
> There are a number of preferences settings on other pages that will
> affect your envelopes and their behavior. You should be aware of these:
> Project, Track/Send Defaults:
> Whether by default to show for new tracks one or more of the following
> envelopes – volume, pan, volume (pre FX), pan (pre FX), mute
> Default envelope point shape
> Default automation mode
> Appearance:
> Whether to show tooltips with envelopes
> Whether to show horizontal grid lines in automation lanes
> Whether to fill automation envelopes (shade area below envelope)
> Appearance, Peaks/Waveforms:
> Whether to draw faint peaks in automation envelope lanes.
> Tutorial: Working With Envelopes
> Before moving on to looking at envelope management actions and how these
> can be applied to a custom toolbar or custom menu, here is a brief
> tutorial that reviews some of the envelope basics. Even if you think you
> don't need it, take the time to work thru it. You just might learn
> something that you didn't already know! Hopefully this will help you to
> make sense of what follows.
> 1.Open the supplied file WastingTime121.RPPand save it as
> WastingTime122.RPP.
> 2.Select the Guitarsfolder and add a volume envelope. The default
> keyboard shortcut is V; or you can click on the envelope button;
> (currently labelled trim to do this).
> 3.Make a time selection of the musical break that runs from about 1 min
> 14 to about 1 min 40.
> 4.Select the envelope and use the envelope fader; (in the track's
> envelope panel) to raise this portion of the envelope by about 1.5 dB.
> 5.You might think that this envelope doesn't really need its own lane.
> Right-click on the envelope and untick the option Show envelope in lane.
> 6.The problem now is that we no longer have an envelope fader or visible
> envelope panel. We'll address this problem when we look at menu/toolbar
> customization.
> 7.Now select the Vocal male track and add a Pan envelope; (P). Adjust
> this so that when there is no female vocal present this track is moved
> closer to the center (see below).
> 8.On the Transport Bar, right click over the first button (this is the
> Global Auto button) and choose Read (play all folders with armed
> envelopes)as your global over-ride mode.
> 9.Play the song. The faders on those tracks with envelopes will move
> with the envelopes.
> 10.Set global auto over-ride back to No Global Override; (from the
> transport toolbar, as in step 8.)
> 11.Now select the Vocals Reverb track and right-click over its envelope
> button to set its mode to Latch. Ensure the track controls are visible
> and identify the ReaVerbate: Wetbutton. We are going to use this to turn
> up the reverb a little near the end of the song.
> 12.Position the play cursor at about 2 min 07 sec and start to play the
> song. When it gets t0 2 min 20 sec, raise the wet level to about -4.0 db.
> 13.Stop the song at the end. Your track control movements have been
> recorded as an envelope.
> 14.Set the automation mode for this track to Trim/Read and disable the
> option to show this envelope in a lane.
> 15.Select the Guitarsfolder. Right-click over the FX button and select
> the chorus plug-in to display it.
> 16.Click on the rotary wet/dry mix control; (next to the 4 in 4 out pin
> connector) then on Param then in Show track envelope to set up a track
> envelope.
> 17.Make the same time selection as in step 3. and use the envelope lane
> horizontal fader to raise this to 20%
> 18.Close the chorus window.
> 19.Save the file.
> 20.Notice that when you play back, even in Trim/Read mode, the track
> control for the wet reverb level will move as the level is adjusted.
> You might have found some of those steps a bit fiddly. We are now going
> to see how custom actions, menus and toolbars can be made to make them a
> little easier.
> 12.3Envelope Actions
> If you open the action list and type “envelope” in the filter box you'll
> see that there is no shortage of actions available for managing
> envelopes. Most of them fall into one of a number of categories (such as
> actions for setting point shape, actions for displaying/hiding envelope,
> and so on) but there are also a few that deserve singling out
> individually. Here are some of the main categories.
> Set track automation mode
> Set global automation override
> Cut/copy/paste point actions (e.g. selected points, points within time
> selection)
> Delete points (e.g. selected points, points within time selection)
> Insert point
> Invert selected points
> Reduce number of points
> Move points (selected) up/down/left/right
> Hide/show envelopes (e.g. all tracks, selected tracks)
> Set default point shape
> Set shape of selected points
> Lock/unlock envelopes
> Here are some of the actions which merit an individual mention:
> Envelope: Clear envelope: can be used to remove all envelope points and
> optionally also remove the envelope.
> Envelope: Insert 4 envelope points at time selection: when the envelope
> is shown in its own lane, moving the fader in the envelope panel does
> this automatically as it raises or lowers the portion of the envelope
> that falls within the time selection. This action is useful when the
> envelope is not shown in its own lane but is above the media item(s).
> Envelope: Reduce number of points: good for tidying up an envelope in
> those situations when writing automation data has produced an envelope
> with too many points.
> Envelope: Reset selected points to zero/center: especially good for
> cleaning up mistakes!
> FX: Show/hide track envelope for last touched FX parameter: simply a
> brilliant way to add envelopes direct from an FX window parameter
> controls; or from track controls.
> Most of these actions can also be found on the Envelope segment and/or
> Envelope point context menus.
> I would definitely suggest that you consider adding; Envelope: Insert 4
> envelope points at time selection; to the Envelope segment context menu.
> 12.4A Custom Envelope Management Toolbar
> Below is shown a suggested possible toolbar that you could use when
> working with envelopes. As with other custom toolbars, your choice of
> which actions to include will be a personal one. For example, I have not
> included any actions for copying and pasting envelope points because I
> seldom need to do this.
> In view of the explanations on the previous page, many of these require
> no further comment. However, you might wish to note these:
> Track automation mode.
> Four actions are included to easily select automation mode for
> individual tracks.
> Global override.
> I often like to set global override mode to read to check on automation
> activity during playback, or to trim/read for making adjustments. The
> action to set global override off will return track automation modes to
> their individual settings.
> Locking.
> Being able to toggle the locking of envelopes helps to prevent
> accidental changes from being made to envelopes. Envelope locking will
> only be applied if global locking is enabled; (main toolbar).
> Envelope: Unselect all points.
> If you have your Envelope segment mouse modifiers set up as in the
> example in Chapter 2 (section 2.7) then you can use Alt+double-click to
> unselect all envelope points. It doesn't do any harm to also have a
> button for this.
> Envelope lane toggle actions.
> These are a great help with your management of screen real estate: show
> the envelopes in lanes when you are working on them, remove the lanes
> when you are not. See note below.
> Envelope show/hide actions.
> Again, this one is very much about real estate management: these actions
> give you fingertip control!
> Note:Here is an interesting variation. You can create a custom action
> which will toggle all envelopes on all tracks in and out of lanes, then
> assign this action to your toolbar. Here are the actions that you will
> need to include in your custom action:
> SWS: Save current track selectionTrack: Select all tracksEnvelope:
> Toggle display all visible envelopes in lanes for tracksSWS: Restore
> saved track selection
> 12.5Envelope Management Resources
> A toolbar similar to that created in the above tutorial is included with
> your resource material. The file is called
> UnlockedAutomation01.ReaperMenu. It is located in the
> \Resources\Toolbars folder.
> If you import it as it is, it will be imported into REAPER as Floating
> Toolbar 6. You will need (in the Customize menus/toolbars window) to
> select Floating Toolbar 6 before importing it. If you wish to keep your
> present floating toolbar 6 and import this as something else (e.g.
> Floating Toolbar 7), simply do this before importing it.
> 1.Open the file with any text editor (such as Notepad or PSPad).
> 2.Edit the first line, from [Floating toolbar 6] to [Floating toolbar 7]
> (or whatever).
> 3.Save the file.
> 4.Import the modified file in the usual way.
>
> Automation envelopes are used to save and replay movements of track and
> FX parameters during playback.
> ?These changes can be added to envelopes manually (using the mouse) in
> Read mode, or written to envelopes as you adjust the track and FX
> parameter controls themselves, either with a mouse or using a control
> surface device (in Write, Latch or Touch mode).
> ?The differences between the different automation modes are summarized
> in the table below.
> ?In Write, Touch and Latch modes, any FX parameter rack controls that
> have been added to the track panel (in TCP or Mixer view) can be used to
> write automation.
> ?Regardless of which method you use to create your envelopes, they can
> be afterwards be adjusted and edited either manually; (Read mode); or by
> further tweaking the track control parameter; (Touch or Latch modes).
> ?Envelopes can be displayed either in individual lanes or above the
> media item itself.
> Automation Mode
> Description
> Trim/Read
> Existing envelopes are applied, but on-screen controls do not move.
> Trim/Read mode might seem strange at first, but it does bring you a
> useful benefit. You can use a track’s controls for overall changes.
> For example, adjusting a track’s Volume fader in this mode will raise or
> lower the volume for that whole track relative to the envelope. In
> Trim/Read mode fader movements are not recorded: they are adjusted in
> the same way as when no envelope is present.
> Read
> Applies envelopes and moves controls for armed items; but does not write
> or remember any changes that you make to them.
> Latch
> Writes and remembers any changes that you make using the parameter
> controls (for example, an FX parameter fader control), and creates new
> points on existing track envelopes. Changes commence when you first
> adjust a setting, and continue to be remembered until playback stops.
> Touch
> This is similar to Latch, but stops making changes to envelope points
> when you stop adjusting them.
> Write
> Writes and remembers current settings as edit points, along with any
> changes that you make to parameter values for armed items during playback.
> In this mode, previously written envelopes for armed items will be over
> written.REAPER's Envelope preferences include an option to automatically
> switch to another mode immediately after recording automation in Write
> mode. By default, it will switch to Trim/Read.
> If you are unsure about any of these basic issues you can find out more
> by consulting the User Guide.
> Parameter modulation works on a different principle. It does not record
> and replay absolute value for a track or FX parameter, but rather uses
> the value of one parameter to control another dynamically and in real
> time. For example, parameter modulation can be used to automatically
> increase a compressor's compression ratio on a vocal as that vocal gets
> louder, and to decrease it as it gets quieter.
> 12.2Envelope Preferences
> The Envelope preferences settings are described in the User Guide
> (Chapter 19). As you check thru them (either in the guide or in the
> above screenshot), a reasonably experienced user will find that many of
> them should require no further explanation. However, some of these
> options, though important, are quite subtle and their reason for being
> there might not be so obvious. For example:
> Envelope point selection follows time selection for the active envelope
> In most cases I would recommend enabling this option. This will ensure
> that when you make a change to your time selection, envelope points
> within the new time selection will automatically be selected on the
> active envelope.
> This is illustrated below. Notice how when the time selection is
> changed, so is the envelope point selection.
> Notice how when the time selection is changed, so are the selected
> points on the currently selected envelope.
> This is very handy for those times when you want to adjust together a
> range of envelope points in a particular part of your project.
> Add edge points when moving envelope points
> This setting determines how REAPER behaves when you move a range of
> envelope points. It can be used to resolve the question of whether the
> transition should become a smooth one or a sudden one.
> This really is one of those cases where a picture is worth a thousand
> words:
> In the first (top) picture, a group of four envelope points have been
> selected/
> In the second (middle) picture, the segment between the second and third
> selected point has been lowered, with the option to add edge points
> enabled.
> In the third (bottom) picture, the same segment has been moved, but this
> time with this option disabled.
> Just as important as the envelope preference setting here are your mouse
> modifier preferences for Envelope segment left drag.
> Shown here, assuming that in your preferences you have turned this
> option off, you can still use Shift Altwhen dragging to over-ride the
> normal default setting.
> When adding volume/pan envelopes, apply trim to envelope and reset trim.
> This is not an easy one to explain. Take your time to understand it: if
> you work with volume and/or pan envelopes you will find it useful.
> Let's take the track shown here as an example. It's a reverb bus.
> Notice, as is not uncommon with such busses, that the volume fader has
> been set to quite a low level.
> Let's assume that this preference option is set to Never. This is what
> happens when we add a volume envelope.
> The envelope displays 0.00 dB: this is relative to the track volume
> fader. It is located vertically at the mid-way point of the envelope
> lane. Another way of thinking about it is to say that the envelope
> setting is currently the same as the track fader. If you raise the
> envelope by, say 5 dB for part of the song, then that 5 dB will be a 5
> dB increase on whatever the track fader reads. This method of working
> makes it easy to make adjustments above and below the envelope.
> In this second example, the preference is set to Always. The envelope
> displays the real decibel setting – in this example -23.5 dB – whilst
> the track volume fader now reads 0.0 dB. Any adjustments that you make
> to the envelope will be shown on that envelope – and any adjustments
> that you make to the track volume fader will be relative to the envelope.
> Note that in both cases, adjusting the envelope lane fader will affect
> the volume for the whole track. In both cases, the envelope will be
> physically moved up or down. In the latter case, the envelope points and
> segments will reflect the actual decibel levels. In the former case, the
> values displayed will be relative to the track fader level.
> There are a number of preferences settings on other pages that will
> affect your envelopes and their behavior. You should be aware of these:
> Project, Track/Send Defaults:
> Whether by default to show for new tracks one or more of the following
> envelopes – volume, pan, volume (pre FX), pan (pre FX), mute
> Default envelope point shape
> Default automation mode
> Appearance:
> Whether to show tooltips with envelopes
> Whether to show horizontal grid lines in automation lanes
> Whether to fill automation envelopes (shade area below envelope)
> Appearance, Peaks/Waveforms:
> Whether to draw faint peaks in automation envelope lanes.
> Tutorial: Working With Envelopes
> Before moving on to looking at envelope management actions and how these
> can be applied to a custom toolbar or custom menu, here is a brief
> tutorial that reviews some of the envelope basics. Even if you think you
> don't need it, take the time to work thru it. You just might learn
> something that you didn't already know! Hopefully this will help you to
> make sense of what follows.
> 1.Open the supplied file WastingTime121.RPPand save it as
> WastingTime122.RPP.
> 2.Select the Guitarsfolder and add a volume envelope. The default
> keyboard shortcut is V; or you can click on the envelope button;
> (currently labelled trim to do this).
> 3.Make a time selection of the musical break that runs from about 1 min
> 14 to about 1 min 40.
> 4.Select the envelope and use the envelope fader; (in the track's
> envelope panel) to raise this portion of the envelope by about 1.5 dB.
> 5.You might think that this envelope doesn't really need its own lane.
> Right-click on the envelope and untick the option Show envelope in lane.
> 6.The problem now is that we no longer have an envelope fader or visible
> envelope panel. We'll address this problem when we look at menu/toolbar
> customization.
> 7.Now select the Vocal male track and add a Pan envelope; (P). Adjust
> this so that when there is no female vocal present this track is moved
> closer to the center (see below).
> 8.On the Transport Bar, right click over the first button (this is the
> Global Auto button) and choose Read (play all folders with armed
> envelopes)as your global over-ride mode.
> 9.Play the song. The faders on those tracks with envelopes will move
> with the envelopes.
> 10.Set global auto over-ride back to No Global Override; (from the
> transport toolbar, as in step 8.)
> 11.Now select the Vocals Reverb track and right-click over its envelope
> button to set its mode to Latch. Ensure the track controls are visible
> and identify the ReaVerbate: Wetbutton. We are going to use this to turn
> up the reverb a little near the end of the song.
> 12.Position the play cursor at about 2 min 07 sec and start to play the
> song. When it gets t0 2 min 20 sec, raise the wet level to about -4.0 db.
> 13.Stop the song at the end. Your track control movements have been
> recorded as an envelope.
> 14.Set the automation mode for this track to Trim/Read and disable the
> option to show this envelope in a lane.
> 15.Select the Guitarsfolder. Right-click over the FX button and select
> the chorus plug-in to display it.
> 16.Click on the rotary wet/dry mix control; (next to the 4 in 4 out pin
> connector) then on Param then in Show track envelope to set up a track
> envelope.
> 17.Make the same time selection as in step 3. and use the envelope lane
> horizontal fader to raise this to 20%
> 18.Close the chorus window.
> 19.Save the file.
> 20.Notice that when you play back, even in Trim/Read mode, the track
> control for the wet reverb level will move as the level is adjusted.
> You might have found some of those steps a bit fiddly. We are now going
> to see how custom actions, menus and toolbars can be made to make them a
> little easier.
> 12.3Envelope Actions
> If you open the action list and type “envelope” in the filter box you'll
> see that there is no shortage of actions available for managing
> envelopes. Most of them fall into one of a number of categories (such as
> actions for setting point shape, actions for displaying/hiding envelope,
> and so on) but there are also a few that deserve singling out
> individually. Here are some of the main categories.
> Set track automation mode
> Set global automation override
> Cut/copy/paste point actions (e.g. selected points, points within time
> selection)
> Delete points (e.g. selected points, points within time selection)
> Insert point
> Invert selected points
> Reduce number of points
> Move points (selected) up/down/left/right
> Hide/show envelopes (e.g. all tracks, selected tracks)
> Set default point shape
> Set shape of selected points
> Lock/unlock envelopes
> Here are some of the actions which merit an individual mention:
> Envelope: Clear envelope: can be used to remove all envelope points and
> optionally also remove the envelope.
> Envelope: Insert 4 envelope points at time selection: when the envelope
> is shown in its own lane, moving the fader in the envelope panel does
> this automatically as it raises or lowers the portion of the envelope
> that falls within the time selection. This action is useful when the
> envelope is not shown in its own lane but is above the media item(s).
> Envelope: Reduce number of points: good for tidying up an envelope in
> those situations when writing automation data has produced an envelope
> with too many points.
> Envelope: Reset selected points to zero/center: especially good for
> cleaning up mistakes!
> FX: Show/hide track envelope for last touched FX parameter: simply a
> brilliant way to add envelopes direct from an FX window parameter
> controls; or from track controls.
> Most of these actions can also be found on the Envelope segment and/or
> Envelope point context menus.
> I would definitely suggest that you consider adding; Envelope: Insert 4
> envelope points at time selection; to the Envelope segment context menu.
> 12.4A Custom Envelope Management Toolbar
> Below is shown a suggested possible toolbar that you could use when
> working with envelopes. As with other custom toolbars, your choice of
> which actions to include will be a personal one. For example, I have not
> included any actions for copying and pasting envelope points because I
> seldom need to do this.
> In view of the explanations on the previous page, many of these require
> no further comment. However, you might wish to note these:
> Track automation mode.
> Four actions are included to easily select automation mode for
> individual tracks.
> Global override.
> I often like to set global override mode to read to check on automation
> activity during playback, or to trim/read for making adjustments. The
> action to set global override off will return track automation modes to
> their individual settings.
> Locking.
> Being able to toggle the locking of envelopes helps to prevent
> accidental changes from being made to envelopes. Envelope locking will
> only be applied if global locking is enabled; (main toolbar).
> Envelope: Unselect all points.
> If you have your Envelope segment mouse modifiers set up as in the
> example in Chapter 2 (section 2.7) then you can use Alt+double-click to
> unselect all envelope points. It doesn't do any harm to also have a
> button for this.
> Envelope lane toggle actions.
> These are a great help with your management of screen real estate: show
> the envelopes in lanes when you are working on them, remove the lanes
> when you are not. See note below.
> Envelope show/hide actions.
> Again, this one is very much about real estate management: these actions
> give you fingertip control!
> Note:Here is an interesting variation. You can create a custom action
> which will toggle all envelopes on all tracks in and out of lanes, then
> assign this action to your toolbar. Here are the actions that you will
> need to include in your custom action:
> SWS: Save current track selectionTrack: Select all tracksEnvelope:
> Toggle display all visible envelopes in lanes for tracksSWS: Restore
> saved track selection
> 12.5Envelope Management Resources
> A toolbar similar to that created in the above tutorial is included with
> your resource material. The file is called
> UnlockedAutomation01.ReaperMenu. It is located in the
> \Resources\Toolbars folder.
> If you import it as it is, it will be imported into REAPER as Floating
> Toolbar 6. You will need (in the Customize menus/toolbars window) to
> select Floating Toolbar 6 before importing it. If you wish to keep your
> present floating toolbar 6 and import this as something else (e.g.
> Floating Toolbar 7), simply do this before importing it.
> 1.Open the file with any text editor (such as Notepad or PSPad).
> 2.Edit the first line, from [Floating toolbar 6] to [Floating toolbar 7]
> (or whatever).
> 3.Save the file.
> 4.Import the modified file in the usual way. end snip.
>
>
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