2019-03-18 12:38:38 (edited by daisyalesoundworks 2019-05-28 14:11:47)

Hi everyone. This is the official thread of the accessible sound design course facilitated by myself, Brian, sound designer for Ebon Sky Studios and creator of Lost and Hound.

The second lesson is up. Evaluation from me for this lesson will end on the 8th of May so if you want to partake in the interactive element of this course, get your first assignment to me by then. You can jump in and out anytime you like, but I don't want to be evaluating all different assignments all the time.
See post 172 or go here: https://forum.audiogames.net/post/428777/#p428777

This thread will remain active. For further information and interactivity, join the Discord server here. https://discord.gg/T5pwuR7

The purpose of this course is to raise the ability of sound design within the community, in association with Ebon Sky Studios and my own audio company, Daisy Ale Soundworks, before the release of Sable. Sable is the codeless audiogame creation software that Ebon Sky Studios is developing. Check out our Holman Prize video here. https://www.youtube.com/watch?v=FbNOid8rejw

Moderators - I put it here and not in the developers section because I want people to come across this thread, who have never considered sound design before. Many people don't go into the developer section at all because they think it's too inaccessible or they'd just never considered making their own content - I want people to stumble across this and imagine themselves as sound designers.

It will be hosted on YouTube. I encourage commenting on the videos, but I will be assigning tasks for you to complete and show me. If you are uncomfortable with posting your work on YouTube, you can post it here. You can send me direct messages if you're really uncomfortable, but if I'm answering 30+ direct messages each video it will take up a lot more time than commenting in threads.

1. Don't publish/sell content if the sound requires a license you don't have
2. Use speakers if possible in the beginning. If you hit a wrong button you could increase volume to a dangerous level. This could damage your ears especially if you're using in-ear headphones. The human ear can handle short bursts of incredibly high volume as long as the distance isn't close to the ears. Keep your sound at 25-50% maximum in the system settings of the computer. You will not be able to hurt your ears if you take this precaution. Should you ignore this precaution and damage your hearing, I am not responsible.

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2019-03-18 12:38:49 (edited by daisyalesoundworks 2019-03-19 11:34:06)

We will begin with vocabulary. You will be lost if you don't know these words because I will use them frequently.

The spectrum of sound, represented in Hertz. Often represented visually as a graph: on the x axis is Hertz, spanning on the left from 40 to 20,000 at the right. On the y axis is volume, measured in decibels (dB), -60 at the very bottom, to +10 at the top. More on this in the "gain" vocabulary section.

The unit of measurement for frequency. Humans can hear between 40 Hertz (Hz) and 20,000 Hz. People sometimes use the metric system to measure hertz - 1,000hz = 1kilohertz, or 1kHz. We will not, because it's better and less confusing to use larger numbers than to be converting numbers in your head all the time. I'll always be using the measurement of hz, and that's standard practice for sound designers.

Highness or lowness of a sound as determined by how many vibrations (sound waves) occur in a given time

A musical term - one set of notes using a major scale - doe, re, mi, fa, so, la, ti, doe. While the first doe is 8 notes away from the second, the wavelengths match up perfectly and they're technically the same note, however the second is simply twice as high.

Amount of signal sent to output, measured in decibels. Decibels are somewhat funny, they feel a bit nonlinear to me. For example, a sound at +7 dB would be incredibly loud if recorded well, but if we lowered it to -5db it might be decent. However if we took that same sound and set it to -30dB and then again to -40dB, we might barely hear a difference at all. Anything above -10 dB needs to be treated with care - even 1dB too much could be too loud.

Too much sound being sent through either a microphone or Digital Audio Workstation (Reaper) so that it distorts the sound. Sound that peaks is unusable.

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2019-03-18 12:40:43 (edited by daisyalesoundworks 2019-03-18 12:59:33)

It's important to know how Hertz behave also. Hertz are the literal measurement of a soundwave - the lower the number, the longer the wave, and the lower the pitch of that sound. The male human vocal range is around 85hz to 180hz, while the female is  around 160hz to 255hz.  However, many consonants we use in speech occur around the 1,000hz to 3,000hz range and some higher. This is what I meant about behaviour - picture a soundwave as long as your arm. Let's pretend that soundwave is 1,000hz. (I'm saying pretend because it's pointless to know how large soundwaves are, spatially, for our purpose so honestly I don't know if that's correct and it doesn't matter, we're just using it as a case example to illustrate the beahviour of hz.)
So one soundwave as long as your forearm, elbow to wrist, it's 1,000hz. If we now imagine a soundwave that is 2,000hz, that means two of them can fit lengthwise on your forearm, and the pitch that sound makes is twice as high, or an octave, above the first sound. Let's imagine another set of soundwaves, at 4,000hz. Four can fit lengthwise on your forearm, and they're yet again another octave above, or twice the pitch. The next set would be 8,000hz and 8 can fit on your arm. So the point is - a sound will double in pitch/note/octave if its measurement of hz. doubles. That's very important to know, because the sound spectrum seems as though we humans have an incredible capacity for hearing if the human range only takes up a hundred hz or so, and we can hear all the way up to 20,000hz. Not so. Another case example - a man is singing a note at 150hz. If we record and process that note up to 300hz, it's an octave above/twice the pitch. If we do it again, 600hz, that's two octaves above. 1200hz is three, 2400hz is four, 4800hz is five, 9600hz is six, 19200hz is seven and suddenly we're out of our range of hearing.

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2019-03-18 12:42:21 (edited by daisyalesoundworks 2019-03-19 11:28:20)

The course will start in a little over two weeks time.

The most valuable part of this course is interactivity with me. I know that sounds really egotistical but there are hundreds of courses online that could teach you the basics of this stuff but no one will be critiquing your work, and giving you individual feedback in those.

Here, I plan on setting aside a full day per week simply to work with people because I believe this is a skill that suits and benefits this community.

My advice for the next two weeks is, install the required software and get it working. Get comfortable with using the menus and navigating around Reaper.

Reaper: https://www.reaper.fm/download.php
Osara: https://github.com/jcsteh/osara/archive/master.zip

I will be using the NVDA screen reader in my recordings, largely so that I'll be held accountable - I won't be able to do something without you hearing it, so you won't lose me in that regard.

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2019-03-18 13:08:07 (edited by grryfindore 2019-03-18 13:14:17)

Lovely, sir!
I have wanted something like this for a while now, although We did learn some of this in our science class its been years and years, so these were very good indeed.
Looking forward to your sound design course and I'll be listening on youtube to be sure and most likely read and comment there as well.
Thank you

Of all sad words of tongue or pen, the saddest are these, ‘It might have been.
Follow me on twitter

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2019-03-18 13:36:55

Hi, i read through the posts, and it sounds intteresting. thanks and i qwill be on the look out for it.

best regards
never give up on what ever you are doing.

2019-03-18 14:48:42

Nice, I actually didn't know that Hz and KHz were a different scale, I thought 1KHz was equal to 1,000Hz and 15KHz was equal to 15,000 Hz and so on. Anyway, looking forward to this.

I felt the wind of your passing
        is preferable to
I felt the passing of your wind

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2019-03-18 15:32:34

ironcross32 wrote:

Nice, I actually didn't know that Hz and KHz were a different scale, I thought 1KHz was equal to 1,000Hz and 15KHz was equal to 15,000 Hz and so on. Anyway, looking forward to this.

You're right in your conversions - 1kHz is 1,000Hz. I will edit my above statements as rereading them, they seem unclear. I won't be using the term kilohertz because it's easier to use larger numbers than ask people to convert in their head - and most equalisation graphs do not use kilohertz, they just use hertz in large numbers. I think because we have to remember certain parts of the EQ graph, it's important to not add another step of logic/conversion in there.

So you're quite right in what you're saying and it seems what I am saying is unclear!

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2019-03-18 17:15:50

To be honest daisy, I suspect the reason a lot havn't really thought about sound design is the sheer cost of getting started.
I do have a lot of sfx, but without the gdc bundles, effects I pulled from games and effects that came from production companies I was able to get by sheer luck, as well as several effects I was able to buy, to get good effects can be expensive.
Next are the costs and space.
I do not have a mac or will probably be able  to afford one which is where a lot of sound and music stuff is done on.
Before reeper, you needed soundforge or similar and while I doodled with  cracked coppies in years past there is no way I'd seriously be able to afford the price for professional sound editing software.
If that was good well and good I guess I could try, but there is the hardware, several soundcards, mixers, a dedicated machine.
Laptops really don't cut it to make sounds on really and then microphones.
Finally there is space.
All my stuff fits in shelves and desk in my bedroom, I don't have the space nore cash for any dedicated studio or anything like that.
And sure while I have doodled about with soundrecorder and putting stuff together that fits, I don't have all the hardware to really do that much.
I have a couple field recorders but they have their own issues to.
Technically I do have some good andriea headsets with a mic but I don't have anything over 50 bucks us, I don't have space for all the powerfull mics and hardware I would really need to be serious.
I don't have a mixer, digital board and the many soundcards I would need, a lot of the pro guys have at least 2-3 cards, I guess technically I have 2 cards if you call the raw no frill cheap card that comes with my headset and my old and quite outdated creative sb play 1 which still works but has its own issues.
I am also unsure about accessibility of some stuff.
If this was an ideal world, I'd have jaws as well as nvda for accessing everything but its not.
There is a lot of things I am not to sure about.
Now if its just reeper, and maybe a virtual audio cable maybe I can afford the cards, I can get a cheap no frill card for 10 bucks and have another like it.
I have a small windows workstation, and some mics but nothing that expensive, no blue yetis or anything.
While I have made some sfx I'd hardly call them comercial though some people have used them and they do work for certain things but only certain things.

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2019-03-18 17:46:16

@9 You're overthinking it, and I think I know why. If you spend time on what are considered the top tier audio specialist forums, they'll convince you that you're nothing without top of the line gear. It's not true. That's what this course will prove - with the bare minimum of expenses we can produce some top quality sound.

Here's a sound that I made with my voice and some free sound effects, some clever EQing and lots of layering.
I used a $70 microphone to record, and an audio interface that cost $200, but only because it's mobile. One can get a decent  interface (meaning a piece of equipment connecting an analogue microphone to a computer) for $50-100.
Warning: the end of this sound is loud.
https://www.dropbox.com/s/a63z9gxlneirl … k.wav?dl=0

That's the point of what we're doing. I'm going to begin by teaching everyone how to take sounds on free sites, how to find not only the good ones but also, the ones that have flaws we can fix. I'll teach how to fix them. This opens up the amount of viable sounds that are free, quite a lot.

Also just a note, I don't use a mac, and NVDA is free.

Seriously mate what you're saying - it echoes what all the "pros" are saying online but it just isn't true. Or rather, it's true only to extremely negligible diminishing returns: there are probably less than .01% of the population that can tell the difference between your work after this course, and the work of someone who has spent $10,000 on gear.

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2019-03-18 18:07:21

So what channel is this going to be published on? and do i only need reaper, and osara?

best regards
never give up on what ever you are doing.

2019-03-18 18:12:58 (edited by daisyalesoundworks 2019-03-18 18:13:19)

@11 Yes. I'm still working on getting Osara working in Reaper myself.
I'll post the link here. I'm not sure if we're going to do it under Ebon Sky's youtube channel or my own.

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2019-03-18 21:59:33

@11 Get Sws too, you may not use it at first quite a lot, but Osara has keymaps for some of its actions that are handy, and the more you use Reaper, the more you will come to start using and loving what SWS adds to it. Imagine you see two tracks in your project that are too high, and need to be turned down, first off, if you don't have SWS, you can go to them and hold alt down arrow, the titration is 0.05 though, so I think that sucks for just turning something down, though its good for fine tuning. Now, if you use an SWS action, and one that Osara has bound to a key in its keymap, you can nudge by 1dB per press, better right? But what if they need to come down oh, about 6dB, you could do that too, find the track, hit control shift down arrow 6 times, go to the other track, do the same, and that's like 14 keystrokes minimum. Or, you can open up ReaConsole, something that SWS provides you, and with two commands, do the same task.

@8 You had me in a tail spin, like if I didn't even know something as simple as hz vs. khz, what else didn't I know lol. I was like, questioning everything I thought I knew about audio.

I felt the wind of your passing
        is preferable to
I felt the passing of your wind

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2019-03-19 01:58:54

@13 hahaha sorry about that!

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2019-03-20 07:20:52

Hi all, so i got my self reaper, not the license, because i don't have the money atm, but i will support them as soon as i know how to use it. any ways, i also got osara and the sws extension. will this be all that i need?

best regards
never give up on what ever you are doing.

2019-03-20 11:09:10

@15, ya you have all the required things.

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2019-03-20 12:16:02

Yes, to get up and running, you have everything. Depending on what you want to do, you might want to get some plugins, if you want to make music, you'll need some instruments. For editing though, the stock plugins work fine. It should say something like Reaper unregistered when you launch it or something, I forget what it says because it says about my license details for me. Anyway, to just see if everything is cool, hit control T then enter to create a new track, then F7 and F8 to arm that track for recording and then monitor it. At this point, you should hear yourself. Reaper will ask you to configure your audio devices when you launch it for the first time, so this is where you will set the audio driver to windows audio session (wasapi) for the best lowest latency, and choose your mic and speakers. So you should hear yourself, but if you don't, hit control P, and you'll probably be in the devices screen already, but if not, shift tab and find the tree view, then hit d. You'll be thrown into the middle of it then, and can look around for input and output. I recommend using wasapi for the lowest latency, but if you're going through hardware that supports ASIO, then you can do better by using that.

There are some prefs I'd set up too, like set all your paths in the paths screen which you can find under control P the preference screen. What I've done is create a folder named reaper at the root of my hard drive, then set all my paths to subdirectories under that one, so I have like c:\reaper\projects, c:\reaper\render, c:\reaper\rec, c:\reaper\peaks. Doing it this way keeps things organized. Also, letting it save peaks is a good idea because if you do, let's say you need to work on a podcast which is at least an hour. It'll take some time to import that file the first time, but if you allow reaper to save peaks, if you have to import it into another project or something, it'll open almost immediately. There are some others, mine is fairly customized and I forget what all I changed. Oh, one thing you might want to do, under plugins and then compatibility, but you can just hit C on the tree view, you might want to change the bridging/firewalling policy from automatic to something like separate process for plugins, or dedicated process. What this will do is bridge all plugins in their own host window. So the way Reaper works by default, if you use 64 bit reaper, you can run 64 bit plugins with no problems, 32 bit plugins though, those need a host window to run under, which is what automatic does, basically not bridging 64 bit but bridging 32 bit. If you would disable bridging altogether, your 32 bit plugins wouldn't even run. But by setting it to one of those two options I mentioned, what you'd gain by that is first of all, a separate window you can alt tab to for your plugin. So you can leave the window up but also get back to reaper. Also, if everything is running under the host, if that process goes down, it will not take Reaper with it. If you left it on Automatic and it was running natively, and a plugin crashed, Reaper would crash too. This way, you're protecting yourself a bit. Reaper is very stable, apart from plugin issues (which they can't control other people's software), and that is even rare, It might have crashed like maybe 5 times for me. Other people do have worse luck than me. I am fully confident leaving my reaper open all day and doing work on stuff here and there and I almost never save. I would spend hours on stuff and when it comes time to render, I'd be like, holy crap, you never even saved this today. That's how stable Reaper is for me. If you run bridged constantly, it probably will be that stable for you too. I also have it configured that I have to hit F then A to add an effect rather than hitting F and it puts me right into the add thing. I do this because then I can load FX chains without having to have an effect present first, which is good. I'm so used to hitting F then A, that if I am working from a clean settings file, it's odd to me, or the one or two times I've helped someone with Reaper over NVDA remote, and used an effect to test something, it's gone straight into it and I'm like weirded out, it's such muscle memory now.
Also, tip for anyone registering Reaper. Copy the license into your clipboard before you launch it. Reaper will see that it's a Reaper license and ask you if you want to import it. If you say yes to that, you're done, that's literally all you have to do.

Oh, and some people will use 32 bit Reaper on a 64 bit system, or have two Reapers, one they install and a portable one. They might keep a portable 64 bit version as a portable for working with VSTi or virtual instruments (also note to peeps that eloquence will say V, S, T, I, very similar to how it says VSTi with a lower case I and capital V, S, T, so be on the look out for that because it will show up in Reaper). I use 64 bit Reaper and never have problems running 32 bit plugins. Others do, so it's kind of subjective I guess, but I'd say there's no real reason to have to run 32 bit reaper on a 64 bit system unless you have problems running 64 bit. There are apparently 32 bit plugins Reaper can't bridge, older ones using something called DX, which I know nothing about. There is a DX wrapper apparently, which can make them work in 64 bit systems probably by emulating 32 bit, but you'll probably never even need one of those plugins as they're not used anymore from what I understand. I've run 64 bit forever now and never had any issues with it whatsoever, so unless it's a problem for you, I'd say run 64 bit if your system is 64 bit.

I felt the wind of your passing
        is preferable to
I felt the passing of your wind

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2019-03-20 14:42:24

@17 This is the exact kind of stuff I'll need help with, thank you. I'm going to struggle anticipating settings and install sequences that will be needed because I'm sighted. Thank you for this guide, I really appreciate it.

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2019-03-20 15:08:32

@17, i don't have a clue about half of the things you mensioned, but i will remember this post in the future.
I just have another question regarding reaper, sorry if it sounds stupid, but as you all can see, i am relativly new to this shit:
how many devices can i register on one reaper license?  not that i plan on giving out the license out to any one, i recently had an issue with one of my computers, it crashed and i had a license that could only register 5 devices... but now... it was not like i would know my computer would crash, but yeah. thanks

best regards
never give up on what ever you are doing.

2019-03-20 15:28:22

Yeah you definitely have a challenge ahead I'd say trying to do this thing with a screen reader. There are parts of Reaper that you can't get to using just tab. You need to use something called Object Navigation (NVDA) Or Jaws cursor (Jaws) to get to certain parts. Also, if you as a sighted person are used to certain key actions doing certain things, like if you are a hybrid user of keyboard and mouse, the Osara keymap might overwrite them so they might be different. I know that there for instance, is nothing bound to tab by default, but Osara uses tab as move to next transient. I don't know how much your course will involve automation, but one instance where you definitely do have to use object navigation is when arming track or take envelopes. I use the shift L keystroke to bring that up, and I can switch automation mode, arm all, hide all, etc. but I can't get into the area where you just arm one or the other. So what you have to do is use NVDA with numpad 8 to jump up a level, then NVDA numpad 6 over and over to get to the one you want and hit NVDA numpad enter to activate it. You don't actually need to hit arm, visible, etc. you just hit NVDA on the name and it does all of them. There is another way though. With plugins, you can hit F, in certain ones if you hit tab, nothing will happen, because the window is up, so you hit escape once to make that go away then hit tab until you hear param (which might be a graphical button for sighted people, I'm not sure), NVDA numpad enter on that then go down to FX parameter list, then show track envelope controls, then pick the one you want, rinse and repeat, then you can work with them. Also, this business with NVDA numpad enter, you probably won't see it unless you delve into NVDA documentation, then you might go right past it never thinking why it might be important, so I'll tell you. In quite a few places in reaper, you can't use space like you're supposed to do in NVDA, and enter might close the window, so you can't do that either. Space will usually cause the project to begin playing back, so what you do is use NVDA numpad enter which causes NVDA to invoke the default action on that control. So, if it's a button, it gets clicked, etc. There is a setting I think somewhere in Reaper, but I have no idea where though, which I think stops this behavior, but I wouldn't recommend it since it's useful to have. I use play/stop when I'm adjusting EQ and stop if I need to hear my speech over the mix, because I hate audio ducking and would never use it in audio editing. But a lot of times, you need to use NVDA numpad enter rather than space in order to activate buttons in windows.

Also, a majority of plugins out there aren't of themselves accessible. I know you said you wouldn't be using VST's, which eliminates most of that concern, but Osara adds a custom menu with P for track, and shift P for the master track. What this does is presents an accessible dialog that grabs all parameters the plugin exposes for automation. You can then arrow down the list, or use first letter navigation to reach the desired parameter, then tab, and you have two ways of changing the value, the slider, or the edit box, though it's worth mentioning that the values in there won't match the values in the slider in most cases, so it's best to use the slider. But it gets weird. In the ReaPlugs, the ones that you can actually tab around inside their GUIs and work with accessibly, some of those don't like the parameter dialog changing their settings, because they immediately revert back to what they were. So, when using Reaper's stock plugins, it's best to work directly with their interfaces, and stick to the P dialog for VSTs. Also, one thing is that we as blind people do not get access to all the features of each plugin. I know damn well that Sylenth is so powerful, but some of that power is hidden from me, because while I can work with a lot of it, there's just some stuff I can't do and I can tell that just from some of the presets, same with Oatmeal, a free synth that's actually quite good and powerful. For instance, I think Oatmeal might have it's own wavetable where you can draw in your own waveforms. I am lead to that conclusion because under waveform, you can select user, and user PWM. We can't do that... which burns me, but it is what it is.

Hmm, what else, there seems a lot of things really, a lot of really niche things that we just do that we don't think about that is different from a sighted person's workflow. One thing is there is a custom Osara action for splitting items that I highly recommend using, it's bound to `A', and it first selects the item under the cursor and then splits, if you use S, and the item is not selected, you get nothing. Along that line, bind the loop points to the time selection in preferences, and also that thing about repeat at end of project and the one about start at time selection I think I have played with that one. There are so many preferences, I should actually export them because I changed so much crap it's hard to remember all of what I changed and all of what you can change.

Depending on the person's usage, there is another thing to make things a bit easier. Since I use Reaper for working with audio more than I use it to compose music, I actually have set my ruler to display time rather than beats and bars, which, for the purposes of NVDA and Osara, it makes it so it gives time in control shift J by default, without having to press it twice, and also as you move along. To make that change permanent, you start with a blank project, then find the option in the view menu, I think it's 5 up from the bottom, and then hit Alt enter and save as default project template or whatever.

Osara has a fair few custom actions which do interesting things, and one possible annoyance about Reaper is that you don't move by time, but this is a feature you will find if you use SWS. There's a configuration somewhere, which I haven't found yet, and two unbound actions that say move configured time forwards and back, or something to that effect. Also, Osara has a configuration dialog with control F12, and on F12, it turns on a training mode where you can hit keys to find out what they do. This works in track view, also in the MIDI editor for actions specifically meant for that.

I felt the wind of your passing
        is preferable to
I felt the passing of your wind

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2019-03-20 15:29:08

@19 I'm not sure on that one.

I felt the wind of your passing
        is preferable to
I felt the passing of your wind

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2019-03-21 07:56:09

I was thinking about my montage next to my computer, sitting there. I ran upstairs and picked a usb cable to connect the 2 and got reaper. I read the reaper accessible wiki and played a lot with it, it's super fun! Now I don't even need talent with step sequencing. When John Melas tools will be accessible, I'll be in business to make pretty much any audio I want.

In the meantime, I can record multiple tracks with different synth presets, but I'm glad there's a tutorial here, because I'm not a pro with reaper yet. Every time I want to do something, I have to look it up, but I'm getting the hang of it. It's sad though that I'll start working just when the tutorial series will begin, I'll still manage to do that off work, but my first few weeks will be crazy loaded, hope I won't miss out too much.

While I'm at it, quick question. I'm recording midi, because I can then edit it. When I want to render the midi track, here's what I do, tell me if you have any tips or if there are other ways to do it:

1. I create a new track
2. I set input as stereo coming from the usb cable connected to my synth.
3. I arm the track, turn off monitoring and solo the midi track I want to render.
3b. If I had multiple recorded midi tracks, I have to put the right instrument on my montage, the one that fits with the midi track I want to render.
4. I start recording which plays my soloed midi track and as it plays, it records wav audio in the new track.
5. When themidi track is done, I stop the recording.

Is there a way to auto stop recording when the midi track is finished? Also, is there a way for my midi track to recall the instrument via a midi message to my montage?

Finally, I have two big HS8 monitors connected to the main L/R analog output of my synth, because these are the speakers I use when I play. The thing is, when I playback tracks in reaper, it plays in those monitors, I guess it sends the audio via the usb cable. How can I put the master mix playback in my headphones or my laptop speakers? It's ok that I hear the HS8 when it records, when I play or when it renders, but I'd like master playback (when you press space that is) to play in another audio device.

In preferences, my device is the ASIO steinberg driver for the montage. Do I have to change in preferences every time? I guess I didn't come across the master track settings, because there is no master track in the track view. This would also answer another question I have which is how to increase master gain.

Well, turned out not to be a quick question after all, I really cannot write short posts apparently.

Reading is one form of escape. Running for your life is another. ― Lemony Snicket

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2019-03-21 15:49:10

If you have the driver for the Montage selected as an ASIO device, both the input and output is the montage. To change this, you could either select the Montage for the input as a DirectSound device, plug the Montage to an audio interface and use the ASIO driver for the interface (having plugged the headphones or speakers into the interface) or download ASIO4All and use your Montage as an input device and your computer audio as your output. I would plug it into your interface, if you have it.
And how are you selecting sounds on the montage?

Best regards

Internet access is a human right.

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2019-03-21 16:50:42

@20 wow. That is a lot to take in.

I think that I'll need to lean on you guys quite a bit to help each other with needs I'm not meeting regarding the accessibility of the program. I'll bring all my sound design expertise to the table and offer it freely, but we'll all need to help set the table to begin with. Thanks for this, I'll try to condense it into a shorter guide.

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2019-03-21 17:27:57

I would recommend anyone who wants to take this course and who doesn't have reaper get it set up ahead of time, and This course From Cavi will help in that regard. It's for the blind made by blind instructors, and if you do nothing else with the course, use it to help you get Reaper installed and configured. Though it is an excellent course and I learned a ton from it. It doesn't do sound design though, which is why I'm looking forward to that one.

I felt the wind of your passing
        is preferable to
I felt the passing of your wind

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