ReaClassical Core serves as an accessible entry point to the complete recording, editing, mixing, and mastering world of ReaClassical. It’s a great way to get started editing the ReaClassical way inside of a regular REAPER instance. If you like Core, consider trying the full ReaClassical ecosystem - it’s also completely free and open source! For more information see https://reaclassical.org.

ReaClassical Core runs on any system that is compatible with REAPER (nine architectures!). This includes 64-bit and 32-bit versions of Windows, MacOS and Linux (including Raspberry Pi).

This online manual, located at https://reaclassical.org/core, serves as the official documentation for ReaClassical Core. The structure of the manual is designed to take the user through preliminary remarks, then a detailed look at editing workflows. After some brief closing remarks, there follows the appendices (descriptions of all the ReaClassical Core functions and recommended keyboard shortcuts). I highly recommend doing a complete read of the short manual and becoming very familiar with the appendices.

This manual is released under the GNU Free Documentation License v1.3. See https://www.gnu.org/licenses/fdl-1.3-standalone.html.

The community thread plays an important role in the development of ReaClassical. Not only is it a place for users to suggest feature requests and point out bugs but also discuss more general classical music recording, mixing and mastering techniques. It also serves as something of a development blog as I not only announce the regular releases but also document the under-the-surface details for those that are interested.

Relatively new is the ReaClassical Discord server. This is a great place for live support, general chat, proposing feature requests, workflow discussion, and letting the community know about albums or individual pieces you have created with the help of ReaClassical or ReaClassical Core.

The most important way users can contribute to the development of ReaClassical or ReaClassical Core is to actually use the tools! It makes me happy to know that engineers can make whole professional-sounding and technically accurate masters from ReaClassical. Another is to suggest features or let me know about bugs. You can either do this on the thread or via the Issues page on the ReaClassical GitHub. Finally, I’d be glad of any monetary donations. You can use PayPal to do so.

If you’ve enjoyed using ReaClassical Core in your projects, I’d be incredibly grateful if you could mention it in your album booklets, social media video descriptions, or anywhere you typically include session details. A simple acknowledgment alongside your usual credits helps spread the word and supports the continued development of the tool.

Get print-on-demand ReaClassical merch like shirts, mugs, totes, pins, stickers and more through my TeePublic store!

The source code for ReaClassical and ReaClassical Core, the mastering grade ReaClassical plugins, this manual and the website can all be found here. ReaClassical and ReaClassical Core are GPL-3.0 licensed.

Due to working on GitHub and releasing the functions via ReaPack, I have the ability to push bugfixes and new features very quickly into an existing ReaClassical install. Often bugfixes happen within minutes or hours of receiving the report. When I dream up new features, the development often happens in rapid fashion over the course of a few days. However, now that ReaClassical has what I consider a mature feature set, I foresee maintenance and occasional bugfixes becoming more central to the process. This will give me more opportunity to work on this documentation, a complete video tutorial series etc. Part of development is also ensuring that ReaClassical continues to operate as expected with the latest REAPER versions. That’s not to say there won’t be new features appearing! As the REAPER developers add more new features, I will always check to see what might be useful for ReaClassical.

Unlike the full ReaClassical system, ReaClassical Core will not receive as many updates as the full ReaClassical system and these will be mostly limited to bugfixes where necessary, and ensuring that the functions continue to work as expected in future REAPER versions. Therefore, a simpler MAJOR.MINOR versioning has been selected.

ReaClassical Core works on top of REAPER, the digital audio workstation and utilizes ReaPack and SWS Extensions. ReaClassical Core functions are coded using Lua. All coding is done either in REAPER’s ReaScript Development Environment, vscode or kate on Linux. The online manual is written in AsciiDoc. The ReaClassical Core logo and banner were created in GIMP.

The changelog for ReaClassical Core functions can be found by double-clicking on the ReaClassical Core package in ReaPack and navigating to the History tab. Whenever you sync ReaPack via Extensions › ReaPack › Synchronize packages, this information should also appear automatically.

If you are recording your music in REAPER, a good idea would be to set the recorded filename pattern to use take numbers. Go to Options › Preferences or use Ctrl+P and set "Recorded Filenames:" to something like $tracknumber-$track-T$recpass or $tracknameornumber-T$recpass. This way, you can easily identify your takes and also use the ReaClassical Core Find Takes function to search for takes based on underlying filename.

Read this section if you or someone else recorded using a different DAW or portable recorder.

Either drag the audio into the REAPER window or select Insert › Media file…​.

For classical music editing purposes outside of the full ReaClassical ecosystem, you should choose a horizontal approach by inserting all the takes of a particular channel sequentially on its own track. It makes sense to have the main stereo pair(s) at the top of the project followed by any section pairs and individual spots. You can create groups from any number of tracks as you can in REAPER (for example, it might be useful to group various orchestral sections).

This is best done using a physical, photocopied score by the conductor or lead musician. I advocate for a “T” system where a large T is inserted into the score at the intended edit point. Either side of the T stem, and under the crossbar, the outgoing and incoming take numbers are written. A wavy crossbar indicates some leeway for where the edit point can be placed. Further notes can be attached underneath the T such as directions for tightening the gap etc.

Before starting to edit using ReaClassical Core, it is worth opening the ReaClassical Core preferences window. Here you can set default crossfade length when using the S-D edit functions, the safety length for alerting the user when placing markers close to existing edits, and the option to add S-D markers at mouse hover location (to enable, change the 0 to a 1).

After importing audio, you should use the Prepare Takes function. It is far more robust than the built-in REAPER auto-grouping. Every set of items comprising a take is now grouped. Prepare Takes can be re-run at any point (useful if you subsequently record some extra patches).

Once you have recorded or imported your classical music audio and prepared takes, you are ready to start editing the raw material! Here we talk about the meat and potatoes of the classical editing workflows. If you have followed the importing audio section, you will have all your takes lined up in a row horizontally. In summary, place your source in and out markers, destination in and out markers, then run one of the S-D edit functions to achieve your 2-, 3- or 4-point edit.

Use the ReaClassical Core_Find Take function to locate a take number (and optional session name) by number in an underlying media filename. If the function can’t find a media item with that take number and optional session name, it will let you know and offer to try again with a different number or session name. This will work for any file-naming system that uses numbers before the file extension such as mvt1_main_pair-T04.wav or beethoven_cello-take_23.flac. Note that if the imported or recorded files have zero-padding that is not a problem as the function strips these away. The session name search can be used to find any text in the filename and allows for partial searches. If you have used an item to create an S-D edit, searching for a take will ignore these items and move directly to the original sources.

You set your in and out points using special colored labeled markers. Simply run the S-D edit function make the 2-, 3- or 4-point edit. depending on how many markers you set. If you attempt to set one of the destination markers inside of an existing crossfade or within 500ms of a crossfade or item edge, the function will alert you (pressing OK places the marker anyway). This helps avoid awkward sliver edits that can happen especially if you are zoomed out and placing markers by ear. You can customize the check range via ReaClassical Core Preferences. The check range (in milliseconds) is the distance beyond an item edge, fade or crossfade. For example, setting to 0 would only check for placement inside a fade or crossfade.

It’s worth pointing out that my S/D and classical crossfade functions place the crossfade immediately before the entry and exit points of the pasted audio. The crossfade length and other values can be set on a per-project basis via ReaClassical Core Project Preferences. In practice this means that if you visually set a marker (or edit cursor in the case of the classical crossfade function) immediately before a transient, said transient will sound post-crossfade which is what we generally desire. Often, given this important detail, I don’t even need to visit the crossfade editor view.

When using a vertical workflow, make sure you have the source folder selected before you create the source IN and OUT markers. You can do so by clicking on the item at the locations you want to set the markers. This adds the folder number as a prefix to the source marker labels. The various functions will then use this label to know which folder to copy from. This is really useful if you undo the edit in order to tweak the markers by dragging them. It doesn’t matter if you then select other folders/tracks. In the event you use two different folders for the source IN and OUT markers, the functions will prefer the source IN label.

The downside to this workflow when using a vertical approach is that the source and destination markers can get in each other’s way visually if the takes aren’t somewhat staggered, however the process still works as expected. See below for a razor editing alternative.

Now that you’ve made your precise edits using S/D workflow or razor editing (no worries if it’s a bit rough!), it’s time to check things through with the help of the crossfade editor view.

Since v7.40, REAPER includes an excellent professional two-lane crossfade editor similar in nature to the specialist classical DAWs such as Sequoia and Pyramix. With the improved crossfade editor, users can see the continued "ghost" waveforms of the items beyond the crossfade they enter and likewise the previous waveforms of the items that exit the crossfade. The ability to visually align transients and then position the crossfade just before it is absolutely critical (and fun when you have the tools to do it!). Select the right-hand item of a fade, use whatever you have set up as the REAPER crossfade editor shortcut (or via Edit › Crossfade Editor) and the crossfade window is opened. Note also that you are automatically centered on the crossfade and can use the mouse wheel to zoom in and out. Press the same keyboard shortcut to exit the window.

So, now you are in the crossfade editor mode, my own preferred method of getting the perfect crossfade is to move the transient I want on the left (upper) item to just after the crossfade by dragging on the ghost waveform. Then I drag the "ghost" waveform of my right (lower) item so that the two transients align. That’s it! Drag on the active part of the waveform to also move the location of the crossfade. You can just move or resize the crossfade by hovering directly over the lower portion of the crossfade and dragging either the edge or the shaded rectangle.

In reality, this process can be just a few seconds to achieve the perfect edit. To ensure that previous xfades are unaffected, make sure that Lock left-hand start is checked:

For auditioning of material inside the fade editor, phase alignment and all sorts of other advanced view options, please see the REAPER manual for more details of what is possible.

Once you have successfully edited your material, export your audio stems for your mixing/mastering engineer using the REAPER render dialog. Or, if your engineer is an enlighened being, simply send over a zip of your project folder (ensuring all audio is first moved or copied in via the REAPER project bay window) for them to import into ReaClassical.

I am appreciative of the collective contributions of the REAPER community with regards the early source-destination actions (Pelleke, in particular), MPL, X-Raym, BirdBird, RCJacH, Sai’ke, Meo-Ada Mespotine, cfillion and many more. Finally, many thanks to Justin and Schwa for such an amazingly versatile DAW.

I hope you enjoy the ability to do serious classical editing with ReaClassical Core on REAPER and that my efforts go some way to making things better, easier and more efficient. Remember that if you find any oddities with the functions or have a bright idea for something new and shiny, please add your thoughts to the dedicated thread on the forums and/or create an issue or start a discussion on my GitHub repository located at https://github.com/chmaha/ReaClassical. If you’ve had fun using ReaClassical Core, don’t forget to check out the full recording, editing, mixing and mastering solution at https://reaclassical.org.

Preliminary Note: I include the default ReaClassical keyboard shortcuts as recommendations.

Prepare Takes T

Description: Intelligently prepares recorded or imported takes for source-destination editing.

Notes: Groups items in a more robust way than REAPER’s auto-grouping. The function allows for takes that don’t start or end exactly at the same time (this can happen if you receive pre-edited materials). The end result is if you drag one item of a take group, every other item will move in sync. NOTE: The function was designed for use after initial recording or importing of media but will work at any point during editing (for example after importing a patch recording). A reminder that the REAPER native grouping (with "automatically group all tracks…" enabled) works for 99% of situations but for takes that don’t potentially start or end at quite the same point Prepare Takes is a must. The function is required to have run at least once before any S-D edits can occur.

ReaClassical Core Project Preferences F5

Description: Set S-D crossfade length, S-D Destination Marker Check Range (ms), Add S-D Markers at Mouse Hover.

Notes: The user can change the checking range (distance beyond an item edge/fade or crossfade) when placing destination IN and OUT markers. Setting to 0 would just check if the marker would be placed inside a item fade or crossfade. You can also choose to add S-D markers at the mouse hover position vs edit cursor.

Find Take (based on filename) Enter

Description: Enter a take number based on the numerical suffixes at the end of filenames and optional session name to quickly jump to that media item.

Notes: If the function can’t find a media item with that take number and optional session name, it will let you know and offer to try again with a different number or session name. This will work for any file-naming system that uses numbers before the file extension such as mvt1_main_pair-T04.wav or beethoven_cello-take_23.flac. Note that if the imported or recorded files have zero-padding that is not a problem as the function strips these away. The session name search can be used to find any text in the filename and allows for partial searches. If you have used an item to create an S-D edit, searching for a take will ignore these items and move directly to the original sources.

Source-Destination Markers 1, 2, 3, 4

Description: Add source-destination markers ready for making the edit.

Notes: 1, 2 = destination IN/OUT; 3, 4 = Source IN/OUT. In between the destination markers is where the edit will actually happen. In between the source markers is where the material is taken from. Use all four markers for 4-point editing. Use any combination of 3 markers for 3-point editing. Use either 1 source and 1 destination (more useful) or just the source markers for 2-point editing (less useful). By default, the markers are added at the edit cursor location. Additionally, you can set the placement of S-D markers at mouse hover position via ReaClassical Preferences (F5). The benefit, other than speed, is that you don’t have to worry about making sure source tracks are selected by clicking on the item - simply hover over the desired item and add the source markers!

If you attempt to set one of the destination markers inside of an existing crossfade or within 500ms of a crossfade or item edge, the function will alert you (pressing OK places the marker anyway). This helps avoid awkward sliver edits that can happen especially if you are zoomed out and placing markers by ear. You can set the check range via ReaClassical Core Project Preferences. The check range (in milliseconds) is the distance beyond an item edge, fade or crossfade. For example, setting to 0 would only check for placement inside a fade or crossfade.

S-D Edit 5

Description: Make the source-destination edit (2-, 3- and 4-point editing)

Notes: Once you have placed your S-D markers use this function to make the edit. Whatever the number of markers you used, the edit will be crossfaded using a short equal power fade (you can change this in REAPER via Preferences…​ › Media Item Defaults) and when using 4 markers, the S-D markers removed ready for the next edit. The edits are perfectly crossfaded and the user only needs to focus on the selection of source material. For any S-D edit you can, of course, undo the action and return to the previous state. The desired crossfade length is set via ReaClassical Core Project Preferences. Note that this function can be used in multi-tab S-D editing mode (see below).

3-point Assembly Line Edit F3

Description: Uses both source markers and destination-IN marker to compile edits from start to finish.

Notes: The destination-IN marker is retained and placed at the end of the edit so that for subsequent operations the user only has to set the source markers.

If you accidentally move the location of the destination IN marker in the middle of assembly line editing, the function will let you know and offer to move the marker back to the right edge of the latest item in the edit. This will even allow you to do some regular 3- or 4-point editing earlier in the sequence before continuing with the assembly line edits. Just place the destination IN marker anywhere in the project and answer No when the message box appears. Note that this function can also be used in multi-tab S-D editing mode (see below).

Insert with Timestretching F4

Description: Makes the source material fit the the space in between the destination markers using time-stretching vs rippling later material.

Notes: Requires placing all four S-D markers. This is less useful for classical music editing but perhaps very useful for video work where replacement material has to fit exactly into the time used by the original. Crossfade length is set via ReaClassical Project Preferences. Note that this function can also be used in multi-tab S-D editing mode (see below).

Delete with Ripple Backspace

Description: Deletes material between the source markers, rippling all later material.

Notes: This only affects the folder group that was highlighted when the source markers were placed which will almost always be the destination group (the top folder in the project). Crossfade length is set via ReaClassical Core Project Preferences.

Delete Leaving Silence Ctrl+Backspace

Description: Deletes material between the source markers, no rippling of later material.

Notes: This is similar to Delete with Ripple but instead leaves a gap where the original source material existed.

Add Source Project Marker Ctrl+Alt+3 or Ctrl+Alt+4

Description: Enables multi-tab editing

Notes: To work in multi-tab S-D edit mode, the user is required to use the S-D project markers as a pair, one in the destination tab and the other in the source tab. In multi-tab S-D edit mode, any source makers placed by the user are not deleted in order to aid a quick undo in the destination tab ready to reapply a tweaked edit.

Add Destination Project Marker Ctrl+Alt+1 or Ctrl+Alt+2

Description: Enables multi-tab editing

Notes: To work in multi-tab S-D edit mode, the user is required to use the S-D project markers as a pair, one in the destination tab and the other in the source tab. In multi-tab S-D edit mode, any source makers placed by the user are not deleted in order to aid a quick undo in the destination tab ready to reapply a tweaked edit.

Delete all S-D Markers Ctrl+Delete

Description: Deletes source and destination markers.

Notes: Useful if you want to abandon a S-D edit, however, there’s also no problem leaving the markers for another time given that the source/destination IN/OUT marker functions replace any existing version of the marker.

Delete all S-D Project Markers Shift+Delete

Description: Deletes both source and destination project markers

Notes: In order to switch back to regular single-tab S-D editing, it is important to run this command otherwise the S-D edit functions will continue to attempt to find markers elsewhere.

REAPER Crossfade Editor F

Description: Opens a two-line crossfade editor view for precise finessing of S-D edits.

Notes: Since v7.40, REAPER includes an excellent professional two-lane crossfade editor similar in nature to the specialist classical DAWs such as Sequoia and Pyramix. Drag on the "ghost" waveforms to align transients and drag on the lower area or edge of the crossfade to move or resize the crossfade itself. Please see the REAPER manual for more details of what is possible including phase alignment and various view options.

You can shuttle between crossfades using the keyboard arrow keys.