REAPER as a live sound mixer

[digaleet]

Hello! I met a live sound engineer the other day who said he was using -REAPER- and some firewire pre's as his mixing console for live sound gigs.... At first I thought I must have heard him incorrectly.... I've heard of people using computers for live sound mixing, but I thought you needed specialized software like SAC and specialized ultra low latency hardware...

Anyhoo... I have a Presonus Firepod / FP10... I tried setting up a reaper project for use as a live sound mixing environment.... I really only have 8 usable inputs and outputs, so my test project is currently only 8 inputs.... Using the sends and hardware routing I was able to set up 4 monitor mixes, a stereo main, and a stereo headphone output.... Each channel has REAPER flavored EQ, Compressor, Gate and Reverb plugins (with the exception of phones)...

And well, it appears to be working... I haven't even begun to tweak my asio settings to reduce latency, and it already appears to be quite usable....

Anyhoo... I guess where I'm going with this story is I wanna know if anyone else is using REAPER as a live sound mixer. How successfully? Any tips for a brave young adventure seeker like myself?

P.s. I know I'm crazy.

[martifingers]

Maybe crazy but maybe not for using REASON..

I too am very interested in this and other people's experiences (although there is another thread somewhere that covers some of this territory.
At live gigs we often play pre-recorded stuff as background during the intervals... presumably this could be all prepared in advance on a couple of spare tracks.

[serr]

Wasn't me was it?

I was at Jazz in the Park in Milwaukee last night with my rig.

I've been mixing live music with Reaper for 3 years now. Better sound quality than any mixing board less than a real Neve or SSL. More flexible than any of the cumbersome digital boards. Infinitely modular and expandable. I wouldn't ever consider going back to hardware mixers.

Basic rig outlined in signature. The sound quality obviously starts with your mic pre's and converters. Reaper's 64 bit mix engine preserves every last detail and there's headroom for miles.

I can mix up to 36 inputs, usually 5 or 6 delays and verbs but I can run probably infinite fx. I simultaneously record all the inputs and any fx I run to multitrack. Running at 48k (24 bit of course) right now as a concession to the plugin load I like to use. SSL channel strips on most inputs, deessers on vox tracks, L2 for system protection for a starting point. And then I run 10 monitor channels. Sample buffer at 192. My round trip latency from analog input to analog output is 11ms (below perception - or, perfect time alignment when the drums are 11' behind the main speakers:)).

Everything is run by wireless control. MIDI controllers over a USB wi-fi radio and the iPad running remote desktop. The rig is in a 8 space shock mounted rack that will sit in a back or side corner of the stage. Front of house setup and snake running are obsolete concepts from the past.

Normally I can roam at least 300' from stage with zero lag in my controls. You may have noticed me hanging a little close to the stage last night because downtown Milwaukee is a freakin wi-fi battlezone! This happens maybe 1 out of 20 shows for me where I'll have to move a little closer to home base (the stage) if I need to do some on point dub fx.

Reaper in OSX is just outrageously stable. I can insert plugins while mixing/recording with no glitches and no worries. Record arm and start a new track at any time, etc. Reaper just doesn't stop or crash. The Mac Pro is my main machine for this but the Macbook Pro (started with this but it's backup now) can handle it with about 90% CPU use.

[lpcrispo]

Wasn't me was it?

I was at Jazz in the Park in Milwaukee last night with my rig.

I've been mixing live music with Reaper for 3 years now. Better sound quality than any mixing board less than a real Neve or SSL. More flexible than any of the cumbersome digital boards. Infinitely modular and expandable. I wouldn't ever consider going back to hardware mixers.

Basic rig outlined in signature. The sound quality obviously starts with your mic pre's and converters. Reaper's 64 bit mix engine preserves every last detail and there's headroom for miles.

I can mix up to 36 inputs, usually 5 or 6 delays and verbs but I can run probably infinite fx. I simultaneously record all the inputs and any fx I run to multitrack. Running at 48k (24 bit of course) right now as a concession to the plugin load I like to use. SSL channel strips on most inputs, deessers on vox tracks, L2 for system protection for a starting point. And then I run 10 monitor channels. Sample buffer at 192. My round trip latency from analog input to analog output is 11ms (below perception - or, perfect time alignment when the drums are 11' behind the main speakers:)).

Everything is run by wireless control. MIDI controllers over a USB wi-fi radio and the iPad running remote desktop. The rig is in a 8 space shock mounted rack that will sit in a back or side corner of the stage. Front of house setup and snake running are obsolete concepts from the past.

Normally I can roam at least 300' from stage with zero lag in my controls. You may have noticed me hanging a little close to the stage last night because downtown Milwaukee is a freakin wi-fi battlezone! This happens maybe 1 out of 20 shows for me where I'll have to move a little closer to home base (the stage) if I need to do some on point dub fx.

Reaper in OSX is just outrageously stable. I can insert plugins while mixing/recording with no glitches and no worries. Record arm and start a new track at any time, etc. Reaper just doesn't stop or crash.

Really really nice setup here!
if we ever do a show in Milwaukee I know who to contact :)

[sstillwell]

Better sound quality than any mixing board less than a real Neve or SSL.

With True preamps and Apogee conversion? I should freakin' hope so!

You should get a little Benchmark or a Lavry or something and run it on the S/PDIF output of the 828 so you can have FOH outs that have analog stages that match the quality of your input conversion.




As long as you're going that far.




Just sayin'.




:D

Scott

PS: I think I'm jealous. I've got a rig set up to do much the same, but running SAC with a MOTU 2408 and 3x Focusrite Octopre MkII Dynamic It's racked up in an 11U rack and is too awkward to use a lot for my own gigs, but when I've had it out and running, it blew away most other systems I've heard.

True. Apogee. Boggling. :)

With 24ch of inputs, I can't get the computer, interface and I/O w/powerstrip into < 8 RU, so I may need to break it up into smaller subunits. CPU rack + I/O Racks, each of which can be 6 RU and easy to carry. It has to be one-man moveable, one-man lift.

Anyway, lots of good ideas.

[Andy Hamm]

I've been doing this for a while now, and I've tested quite a few DAWs for this purpose with Reaper being the hands down winner. Protools is also an option, but Reaper has been behaving flawlesly for the past 1 or two now.

There are a few things that I would advise you to do to get the most out of using Reaper as a FOH DAW (I own FOHDAW.com, which used to have all of this info there, but there is very little interest on the subject).

1. Stop using a snake. You can eliminate the 35 meters of copper that the mic and line level signals have to run through to reach the console as well as the 35 meter trip back that your returns have to make but setting up a mix rack and controlling that from FOH. I use VNC to control the mixrack PC that is set up side stage, either wirelessly or via an ethernet run.

2. Get rtpMIDI (http://www.tobias-erichsen.de/software/rtpmidi.html) working on your FOH Laptop and connect it to your mix rack. This will allow you to attach your control surface to your laptop, giving you mobility while still having physical faders. I'm not 100% sure on this one, but I don't think that there is any product currently on the market that allows you to run a control surface wirelessly atm, although you could use the above software with anything that allows you ta connect a MIDI control surface.

3. Get, or make a theme that works better for live workflow. Here is mine Tourtech Theme (http://stash.reaper.fm/theme/1150/TourTech.ReaperThemeZip). You don't want solo buttons anywhere as they make audio rip through FOH.

4. If you want an aviom type system, or a second virtual console, look into the web interface (http://forum.cockos.com/showthread.php?t=78268). I've made seperate web based monitor mixers, allthough you need to follow a strict input template which makes it only viable when you are working with one act. I generally don't give musicians control over wedges, and not everyone I work with likes IEMs - so working on this is low on my personal priority list.

5. You can build a system processor or just use a SUB output. I rarely do this (I do use a sub out more often though) but it can be done and it has saved my butt at least once.


The final points are to take advantage of some of the things you can do with Reaper, that you can't do on many other consoles.

For instance:

Monitors - set up one mix, eq it, and then drag the EQ to all of your other mixes. Assuming that you have a matched stable of wedges, this gives you a very good starting point as far as EQing your wedges go. Then set up the primary vocal or whatever in each of the mixes. I then drag those sends to the other mixes, turn it down to 75% on the first drag, and when someone asks you for something that is not in their mix, but is in someone elses, you can just drag and drop the send. I mix 6 mixes plus 2 IEM mixes from FOH in this manner.

Plug-ins - I use primarily the Reaper plug-ins, but I have a few extra little things that I like to use as well. Make sure you test plugins before you attempt to use them live, as some will do wierd things. I use a few Voxengo plugs, SPAN and Overtone EQ, as well as KarmaEQ for a 31 band - and that's pretty much it besides ReaEQ, ReaComp, ReaXcomp, ReaGate, Resamplamatic5000.

You can do live drum replacement. I use Resamplematic5000 with Reagate for this and I mix in some of the original kick below the sample threshold as Regate does not send velocity.

Use side chains. I use a comp with a sidechain on my pre-show tunes with the MC mics, or whichever mic someone might go up to durring pre-show in the side chain. I can go do whatever I want, and if they want to make an announcment, all they need to do is walk up to the mic and talk and the tunes will fade out and then gradually back in when they are done. There are so many uses for side chains live that will make your life so much easier.

I started writing a guide on this subject, but I've been too busy to get back to it.

There are a few things that I would hammer home if you are thinking about going this route though:

1. It won't be accepted by the industry. It's a pc that you put together and basically a mixer you made yourself. There are no standards, so systems can vary widely from one to the next as far as stability and usability goes. I built two mix racks, and I'm the only one that mixes on them - if you own a soundco or rent out gear, this is NOT the route you want to take.

2. There is a prebuilt system out there called SAC. SAC has been around for a while, and I did evaluate it when I was looking at FOH DAWs, in the end I chose Reaper. You might like SAC better and the things that were deal breakers to me, might not mattter to you.

3. Build your system to be bullit proof. You absolutely need a UPS on your mix rack. The mix rack should be a dedicated PC, it should not be connected to the internet, and the os should be as slim as possible. You want it tweeked for stability, so overclocking, wares or anything shady is a big no-no. Don't load it down with VST's, keep the entire system as lean as possible.

4. The mix rack itself needs to be neet and well laid out. You don't want to be reaching in the back of a rack to plug and unplug things, use a proper patch bay. The last thing you need is to bump an optical cable while fumbing around in the back of the rack. Keep it all neat and tidy.

I'm sure someone else will chime in and fill in some of the other points. It's a fairly wide topic. I think that in the end you'll find that a 32 Channel FOHDAW costs about as much as an X32 - however it is far more powerful than any low end digital console.

[serr]

Get rtpMIDI (http://www.tobias-erichsen.de/software/rtpmidi.html) working on your FOH Laptop and connect it to your mix rack.

But how would you connect the MIDI controllers? It looks like you would need another whole separate computer to use this. The WiRanger USB2 over wi-fi radio is transparent to the computer. Your 'FOH' computer just sees the USB devices - no drivers or background apps for the WiRanger. Put 13db antennas on the units and it appears to run at around 1W. Can't say enough good things about this product!

However you do it, real faders under your fingers are mandatory. Mixing with only a touch surface would be a bad experience.

Then a 2nd wi-fi network connection for remote desktop or whatever.

I actually tried the TouchOSC stuff a couple weeks ago and it was a spectacular failure! It seems to need to send even more data back and forth than remote desktop and it just drops packets instead of waiting.

[Andy Hamm]

I have 2 Mix Racks, MR-1 and MR-2. MR-2 is my 'walk-in rack' and it is an 8 space rack with 24 i/o. I could have fit it into a 5 space rack, but it has an 18.5 " monitor that fits into the back of the rack lid, and it wouldn't fit into my 6 space rack.

The 8 space rack contains the following:


1U PC
MOTU 2408 MKII
3x ADA8K
UPS
18.5" LED Monitor
USB Keyboard & Track ball
Output Patchbay
Wireless router


Going with a smaller rack would mean that I would have to cary the UPS and the Monitor seperately, which I'd rather not do.

I have used the 6 space rack as my RF rack wich has my IEMs, wired headphone amps and my wireless mics in it, that way when I show up at a venue, I can choose to bring in nothing, either or both racks.


PS: I think I'm jealous. I've got a rig set up to do much the same, but running SAC with a MOTU 2408 and 3x Focusrite Octopre MkII Dynamic It's racked up in an 11U rack and is too awkward to use a lot for my own gigs, but when I've had it out and running, it blew away most other systems I've heard.

True. Apogee. Boggling. :)

With 24ch of inputs, I can't get the computer, interface and I/O w/powerstrip into < 8 RU, so I may need to break it up into smaller subunits. CPU rack + I/O Racks, each of which can be 6 RU and easy to carry. It has to be one-man moveable, one-man lift.

Anyway, lots of good ideas.

[Andy Hamm]

But how would you connect the MIDI controllers? It looks like you would need another whole separate computer to use this. The WiRanger USB2 over wi-fi radio is transparent to the computer. Your 'FOH' computer just sees the USB devices - no drivers or background apps for the WiRanger.

Then a 2nd wi-fi network connection for remote desktop or whatever.

I actually tried the TouchOSC stuff a couple weeks ago and it was a spectacular failure! It seems to send even more data back and forth than remote desktop!

I install rtpMIDI on both PCs, my mix rack and my FOH laptop. It uses the same ethernet or wifi that VNC uses. I believe that in the Mac world, you have MIDI over ethernet, so adding rtpMIDI is a moot point for you. (Windows does not have MIDI over IP)

rtpMIDI will allow you to attach a MIDI controller to your laptop and have it seen by the mixrack as if it was directly connected to the mix rack.

[serr]

I install rtpMIDI on both PCs, my mix rack and my FOH laptop. It uses the same ethernet or wifi that VNC uses. I believe that in the Mac world, you have MIDI over ethernet, so adding rtpMIDI is a moot point for you. (Windows does not have MIDI over IP)

rtpMIDI will allow you to attach a MIDI controller to your laptop and have it seen by the mixrack as if it was directly connected to the mix rack.

OK, you're using an entire separate computer to use that. Walking around with a laptop in addition to the MIDI controllers and iPad would be too much IMHO. Are you still setting up a static front of house location?

No MIDI over ethernet here. USB MIDI controllers thru the WiRanger USB over wi-fi radios.

[Andy Hamm]

OK, you're using an entire separate computer to use that. Walking around with a laptop in addition to the MIDI controllers and iPad would be too much IMHO. Are you still setting up a static front of house location?

No MIDI over ethernet here. USB MIDI controllers thru the WiRanger USB over wi-fi radios.

I have a mix rack on stage, and a laptop with a control surface out front. I usually put the FOH cs/laptop on a rolling case and I roll around the venue to find a FOH mix location I like. I can use the web interface and mix with that on a tablet, but I never do.

When I'm on stage, or close to the stage, I just walk up and make changes on the mix rack itself.

[serr]

I have a mix rack on stage, and a laptop with a control surface out front. I usually put the FOH cs/laptop on a rolling case and I roll around the venue to find a FOH mix location I like. I can use the web interface and mix with that on a tablet, but I never do.

When I'm on stage, or close to the stage, I just walk up and make changes on the mix rack itself.

I must have worked in one too many clubs with their "FOH" in an awkward location. It has been banished from my world forever!!

I'll take the slightly compromised communication in the odd gig in a wi-fi battlezone over wires. I'm thinking of amusing myself with a set of bigger radios one of these days.

Funny... I thought I'd be getting Revenge of the Nerds jokes but I get "Can I get some peanuts" more often.

[Andy Hamm]

I must have worked in one too many clubs with their "FOH" in an awkward location. It has been banished from my world forever!!

I'll take the slightly compromised communication in the odd gig in a wi-fi battlezone over wires. I'm thinking of amusing myself with a set of bigger radios one of these days.

Funny... I thought I'd be getting Revenge of the Nerds jokes but I get "Can I get some peanuts" more often.

I have a 1 watt USB wifi adapter, and two yaggi 16dB antenna, but I rarely have to break those out because you can actually sense their presence.

I do a lot of soft-seater type gigs where they want you to mix from a lighting booth way up above the bacony. I don't have to deal with that anymore.

[serr]

I have a 1 watt USB wifi adapter, and two yaggi 16dB antenna, but I rarely have to break those out because you can actually sense their presence.

I do a lot of soft-seater type gigs where they want you to mix from a lighting booth way up above the bacony. I don't have to deal with that anymore.

The WiRanger or a different product?

[Andy Hamm]

Not sure what it's called, it's a made in china generic type thing. The Yaggi's are imports too.

I attach the 1 watt USB adapter to the laptop and connect to the wifi access point (existing) that runs DD-WRT. The yaggi's connect to the adapter and the router respectively and you get a rediculously powerful narrow beam that I use point to point.

Generally, it is too powerful, you feel eye strain and get headaches when it is on and you are in it's path. I generally don't use it for a full show, more or less just to find my spot, and if wifi is that bad, I'll run an ethernet cable.

[serr]

Not sure what it's called, it's a made in china generic type thing. The Yaggi's are imports too.

I attach the 1 watt USB adapter to the laptop and connect to the wifi access point (existing) that runs DD-WRT. The yaggi's connect to the adapter and the router respectively and you get a rediculously powerful narrow beam that I use point to point.

Generally, it is too powerful, you feel eye strain and get headaches when it is on and you are in it's path. I generally don't use it for a full show, more or less just to find my spot, and if wifi is that bad, I'll run an ethernet cable.

Oh OK, it's a USB wi-fi adapter (as opposed to a general use USB adapter). I almost tried one of those. I didn't go for the narrow beam point to point since I intended to roam. Hmmm... no headaches or anything here...
I was almost going to try that on the iPad to replace its anemic little radio but 'everyone' on 'all the forums' says that none of them play nice with the iPad (ie. driver issues apparently).

My secret weapon was making a 12' antenna mast from mic stand parts that collapses into the back of the rack.

[Andy Hamm]

I do the same, but sometimes I put my router on the mbumps or front truss if it's a show I set up.

[serr]

With True preamps and Apogee conversion? I should freakin' hope so!

You should get a little Benchmark or a Lavry or something and run it on the S/PDIF output of the 828 so you can have FOH outs that have analog stages that match the quality of your input conversion.

I want to put my old PSX-100SE in the rack for that but there isn't room right now! First world problems...

[digaleet]

I'm blown away by all this feedback. Thank you all so much for your input! It seems like I've got a bit of a learning curve ahead of me, but your comments are all very encouraging.

Unfortunately I have a very slim budget, so I'll be doing a lot of making due with what I have. The audio interfaces I plan to use are not really ideal for this setup. The FP10's don't have remote controllable pre's... So I'll need to keep my rack at FOH for the time being..... As much as I would love to ditch the snake....

I'm very much a novice when it comes to this stuff. You all seem far more knowledgeable on the subject than I could hope to be. Which is exactly what I was looking for; a nod of approval from someone who knows what their talking about.

Now that I know this is a route that is worth taking, I am very excited to start using Reaper in a new way! Looking foreword to ditching my clunky old console! Thanks again for all of your wonderful feedback!

[Andy Hamm]

Just wondering, where were you when you saw someone mixing with Reaper?

[XITE-1/4LIVE]

Excellent thread.

[digaleet]

Just wondering, where were you when you saw someone mixing with Reaper?

It was a gig here in my home town Cleveland Ohio. I cant remember the guys name or the name of the company he worked with. The event was at the Halcyon Masonic Temple....

When I went upstairs to actually peep out his rig, he had quite a bit of other stuff there too. His board didn't look like any control surface I had ever seen. It was some sort of full blown digital mixer... Not sure if he was using it for his pre's.... Or if he was using it simply as a control surface, or if it was there as a backup system.... I wish I had had more time to pick his brain.

[Andy Hamm]

I use a digital mixer as a control surface with Mr-1, and I don't have removable preamps either. I have to visit the mix rack or use clear comms and get someone else to do my bidding.

[serr]

The FP10's don't have remote controllable pre's... So I'll need to keep my rack at FOH for the time being..... As much as I would love to ditch the snake....

My True preamps don't have any remote control either. It's not an issue at all. Run a snake just for that?!? Hahahahahahaha... :)

I'll just run up to the stage if needed.

[sstillwell]

My True preamps don't have any remote control either. It's not an issue at all. Run a snake just for that?!? Hahahahahahaha... :)

I'll just run up to the stage if needed.

When the preamps are THAT quiet, just set your gains low enough that you know they'll never clip and make the rest of it up with digital trim.

:D

Scott

[braveness23]

I love this thread!

[braveness23]

Out of curiosity, do any of you have any experience or thoughts on feedback suppression VST's?

I just did a quick Google and found surprisingly few options.

[hopi]

I wonder if anyone doing this remote DAW via an iphone can help me out?

I have an iPhone and have gotten the DAW Remote app

I am on a win7-64 but system with reaper 64 bit

I have gotten and installed rtpMIDI and it sees the iPhone on a wireless network

I have set the reaper pref's to use those drivers [enabled for both midi and control]

Now the problem is that the DAW Remote app only seems to offer Logic, ProTools and Abeleten [their misspelling, not mine hahaha]
as the default DAW's to control...

How do I set up DAW Remote app to 'see' reaper???

thanks for your help!

PS: clearly I'm not doing FOH... but would like to have remote control of reaper via my iPhone just to be able to rec and such from another room.

[serr]

I haven't tried rtpMIDI yet. (I need to have R&D day again with some of this newer stuff.) I did try TouchOSC and it was an epic failure. It seems to need a perfect network and any interference causes it to lose data and just shuts it right down.

However, the remote desktop app iTeleport can also be installed on the iPhone. That's what I use on my iPad. This is nice because you have complete control of your entire computer with no restrictions and no new command sets or workflow to learn.

[hopi]

I haven't tried rtpMIDI yet. (I need to have R&D day again with some of this newer stuff.) I did try TouchOSC and it was an epic failure. It seems to need a perfect network and any interference causes it to lose data and just shuts it right down.

However, the remote desktop app iTeleport can also be installed on the iPhone. That's what I use on my iPad. This is nice because you have complete control of your entire computer with no restrictions and no new command sets or workflow to learn.

thanks serr... yes I have used iTeleport for a long time and can access several computers with it... I have TightVNC on those pc's

But for just running reaper, I think that app is a bit difficult on the iPhone just because of the size difference between the phone and pc screen.... which is why I would like to use something like that DAW Remote app...
I don't have another control interface like TouchOSC or any other... perhaps that is missing link... but I don't plan to get anything like that right now.

I do wonder why DAW Remote only has those 3 default DAWs??? I'd expect more. I'd also expect some way to config other DAWs, such as reaper from right inside that app... but don't find that.

I'd think they really should include reaper the steiny stuff at the least.

[Andy Hamm]

Maybe the web interface is what you're looking for?

thanks serr... yes I have used iTeleport for a long time and can access several computers with it... I have TightVNC on those pc's

But for just running reaper, I think that app is a bit difficult on the iPhone just because of the size difference between the phone and pc screen.... which is why I would like to use something like that DAW Remote app...
I don't have another control interface like TouchOSC or any other... perhaps that is missing link... but I don't plan to get anything like that right now.

I do wonder why DAW Remote only has those 3 default DAWs??? I'd expect more. I'd also expect some way to config other DAWs, such as reaper from right inside that app... but don't find that.

I'd think they really should include reaper the steiny stuff at the least.

[hopi]

hi Andy... you mean to run iTeleport to control reaper from say a laptop? Ummm not really, I want to control it from the iPhone

for simple things really... such as to be in the next room while reaper runs in the studio.. and to have a mic in that next room and to pick a track and start and stop recording... simple stuff.

[braveness23]

Wow, someone really needs to develop a flexible tool to remote control Reaper via various means.

I want badly to be able to give my band-mates either an app or a simple, inexpensive hardware controller so they can adjust the send levels to their own headphone mix.

[sstillwell]

Out of curiosity, do any of you have any experience or thoughts on feedback suppression VST's?

I just did a quick Google and found surprisingly few options.

The only one I've seen is named (amusingly) "Howly Sh*t" by Bitscrew. It's literally like setting up a Sabine or other unit, though...you program it ahead of time during soundcheck by finding the feedback points and locking in filters. It doesn't do realtime seek-and-destroy on feedback.

Wish it was available for Mac.

I may have to write one, heh.

Scott

[serr]

Wow, someone really needs to develop a flexible tool to remote control Reaper via various means.

I want badly to be able to give my band-mates either an app or a simple, inexpensive hardware controller so they can adjust the send levels to their own headphone mix.

We actually have some amazingly flexible and useful tools right now. This is more a first world problem at this point I have to say.

MIDI controllers and control surfaces can be made wireless with off the shelf wi-fi products like the WiRanger. Lots of options here.

The remote desktop approach works right out of the box too. There are quirks to work around (obviously the screens are different sizes) but for simple things like hitting record it doesn't get much more convenient.

The TouchOSC protocol looks like a great addition to all this and probably will be in a short time. It's just not quite ready for prime time right out of the box yet.

Just the MIDI stuff you can do right now is pretty great though. I can have my fingers right on physical knobs to work a (virtual) tape delay units speed and feedback while I walk around anywhere in a venue. I'm really not sure what else to even ask for.:)

[Andy Hamm]

hi Andy... you mean to run iTeleport to control reaper from say a laptop? Ummm not really, I want to control it from the iPhone

for simple things really... such as to be in the next room while reaper runs in the studio.. and to have a mic in that next room and to pick a track and start and stop recording... simple stuff.

It's allows you to create control in the form of a Web Page, so it is cross platform. What you want to do is already available with it as well, so you wouldn't have to write any code.

There is a link to it in my first response in this thread.

[braveness23]

We actually have some amazingly flexible and useful tools right now.

I think this is partly the case but the understanding that I took away when I asked about controlling sends is that they don't have unique identifiers inside Reaper (they are identified as send 2 on track 4) so even if you do come up with a way to remotely control them all it will take to break it is to add a track or send.

Agreed regarding remote desktop. I am a network engineer so I spend my entire working life in remote sessions and frequently don't even know where on the planet the machine I am controlling is. But my drummer doesn't even have a smartphone or an internet connection so I'm not about to ask him to RDP to reaper and add a little more "me" to his headphone mix.

I really want to be able to give him (and everyone in the band) a simple USB controller with 8 buttons, knobs and faders mapped to specific sends that are uniquely identified so I can go nuts in Reaper and his controls are still locked in on his sends.

[braveness23]

Something like this http://www.djworx.com/skratchworx/images/korg/nano/nano_kontrol.jpg

[serr]

Plug that into an Icron WiRanger (USB over wi-fi radio) and assign the faders and knobs to whatever controls in Reaper you want.

There might be other good USB wireless devices available now too. I haven't checked in 3 years.


And yes, you have to design your Reaper mixer and then not shuffle around the track order during use in order to use this stuff right now. Oh well...


Then there's the TouchOSC approach. You would need to design your own templates so there will be a bit of a learning curve. I'm going to revisit this at some point. I've thought of picking up some iPod Touch thingies used and making them dedicated monitor controllers (IEM's only!!!!!!!!!!) specific for each monitor channel.

[braveness23]

Plug that into an Icron WiRanger (USB over wi-fi radio) and assign the faders and knobs to whatever controls in Reaper you want.

There might be other good USB wireless devices available now too. I haven't checked in 3 years.


In my case, I don't need wifi. Everyone is close enough that I can just use direct USB connections.

My understanding is that sends are not midi controllable in Reaper. I would love to be corrected.

Here is a thread (http://forum.cockos.com/showthread.php?t=124678) I started on the topic just last week.

[Andy Hamm]

I used the web based interface to do exactly this. It's an Aviom clone, but they can use any smart phone to control their monitor mix. You just need wifi enabled devices with web browsers.

I never use this though, as you have to use a mixer template to make it work and unless it's a case where everyone is using IEM's - otherwise I would never give control over the monitor wedges to musicians.

I think this is partly the case but the understanding that I took away when I asked about controlling sends is that they don't have unique identifiers inside Reaper (they are identified as send 2 on track 4) so even if you do come up with a way to remotely control them all it will take to break it is to add a track or send.

Agreed regarding remote desktop. I am a network engineer so I spend my entire working life in remote sessions and frequently don't even know where on the planet the machine I am controlling is. But my drummer doesn't even have a smartphone or an internet connection so I'm not about to ask him to RDP to reaper and add a little more "me" to his headphone mix.

I really want to be able to give him (and everyone in the band) a simple USB controller with 8 buttons, knobs and faders mapped to specific sends that are uniquely identified so I can go nuts in Reaper and his controls are still locked in on his sends.

[serr]

In my case, I don't need wifi. Everyone is close enough that I can just use direct USB connections.

My understanding is that sends are not midi controllable in Reaper. I would love to be corrected.

Here is a thread (http://forum.cockos.com/showthread.php?t=124678) I started on the topic just last week.

Just insert some tracks at the end of your current Reaper mixer and route any sends you want to automate through a track. That's what I've been doing. The right end of your mixing board just turns into a control matrix section.

Say you want to control the send from the VOCAL1 track to the TAPE-DELAY1 track:

Send at unity level from the VOCAL1 track to (a new track called) VOC-DELAY-SEND.
Make your choice of pre or post fader send here.

Uncheck Master/parent send on the VOC-DELAY-SEND track and add a post fader send from it to the TAPE-DELAY1 track.

Assign your MIDI controller to the volume fader for the VOC-DELAY-SEND track.

[hopi]

It's allows you to create control in the form of a Web Page, so it is cross platform. What you want to do is already available with it as well, so you wouldn't have to write any code.

There is a link to it in my first response in this thread.

hmmm that link don't take me anywhere????

[Andy Hamm]

hmmm that link don't take me anywhere????

http://forum.cockos.com/showthread.php?t=78268

[hopi]

much better thanks...

so yeah... that is pretty kewl... and handy somewhat

I have it working fine on the iPhone in the Volt Browser, which seems to be the one that actually will display properly...

so I just made that my default page for that browser and can get there nice and fast

I wonder what it would take to make the images that are used and displayed a little larger? any ideas?

hmmmm... just thinking out loud here so I 'could' iTeleport in to pc to load up a project, then exit, then run it somewhat from this www dll...

seem like this dll has lotta potential for a coder to make even more inclusive... but I'm too dumb to really know that

OH and PS: one free app that works very nicely is the free version of Team Viewer... I'd say it gives better control than iTeleport and it just works between all systems

[Jeffsounds]

Holy criminy! How did you guys ever figure out how to connect all that gear to do what you need?????

Somebody should do a video on connections and how it is run. Would make a great series and you might make a little cash along the way... well, AFTER my percentage for the idea... :D

[Andy Hamm]

Yes you can change the web pages, edit images etc...

As far as stuff that starts wit "I-", I'm aware of it's existence, but that's about it.

much better thanks...

so yeah... that is pretty kewl... and handy somewhat

I have it working fine on the iPhone in the Volt Browser, which seems to be the one that actually will display properly...

so I just made that my default page for that browser and can get there nice and fast

I wonder what it would take to make the images that are used and displayed a little larger? any ideas?

hmmmm... just thinking out loud here so I 'could' iTeleport in to pc to load up a project, then exit, then run it somewhat from this www dll...

seem like this dll has lotta potential for a coder to make even more inclusive... but I'm too dumb to really know that

OH and PS: one free app that works very nicely is the free version of Team Viewer... I'd say it gives better control than iTeleport and it just works between all systems

[Andy Hamm]

Holy criminy! How did you guys ever figure out how to connect all that gear to do what you need?????

Somebody should do a video on connections and how it is run. Would make a great series and you might make a little cash along the way... well, AFTER my percentage for the idea... :D

I've pretty much almost done that ;)

[serr]

one free app that works very nicely is the free version of Team Viewer... I'd say it gives better control than iTeleport and it just works between all systems

I think iTeleport was the only remote desktop app available for the iPad 3 years ago. Looks like its time to demo the newer ones.

iTeleport gives you full control of everything. What else do you get with Team Viewer? It looks like it uses it's own VNC app that runs in the background instead of native VNC screen sharing. Is that right?

[hopi]

serr.... both are very good... though I don't know about iPad stuff, just iPhone

Team Viewer is a complete cross platform thing that is unto itself.
Their free version is very useful to me for assisting or remote control of other systems.

When it's install on a given system, it gives you a ID number that is just for that system. And you can if desired, set a unique password for just that system.

On the system you are working from, you just enter that ID number and you'll be asked for the password as it connects.

What I like about it is that there is no other install or tweaking or port forwarding, etc.

It is as fast as anything else I've ever tried.

What does seem 'better' to me on the iPhone side is that the clarity of the zoomed in view seems better, and therefore more easy to control.

The only 'downside' is that when you end the session, it leaves a little 'thank you' window on the remote system... but that'a not a big deal to me.

IMO it's really nice of that dev to offer a free version since the first level pro version costs 750 bucks. [OUCH]

iTeleport has gone through a bunch of updates over the last years and it's good also. I don't like to use it with the google installer that lets you find other computers... I just set it up with TightVNC on the PC's that I want to remote control, and with a DNS name and port and then iTele on the iPhone. [crap... too many "i's"!] [It's a Rasta thing iI :D]

[serr]

I'll have to go through these newer choices...

I don't use the iTeleport host app or any of those features. I just give it my computer's IP address and connect with a password over my own private network. I use the native VNC screen sharing. No 3rd party VNC clients.

So for this there's no tweaking or anything needed either. You can give it your computers static IP address and let it remember the password and then connecting just takes a second with no prompts.

[hopi]

I'll have to go through these newer choices...

I don't use the iTeleport app or any of those features. I just give it my computer's IP address and connect with a password over my own private network. I use the native VNC screen sharing. No 3rd party VNC clients.

So for this there's no tweaking or anything needed either. You can give it your computers static IP address and let it remember the password and then connecting just takes a second with no prompts.

yes right understood but not for an iPhone to remote control a computer, eh?

[serr]

yes right understood but not for an iPhone to remote control a computer, eh?

As I understand it, iTeleport works exactly the same on both the iPad and iPhone.

[Jeffsounds]

Ok, can you guys dumb it down for me? How do you get the sound from the stage to the computer and from the computer to the main and monitor speakers? Do you add VST effects in the track inserts, NOT input FX?

Just trying to get a visual here...

[hopi]

As I understand it, iTeleport works exactly the same on both the iPad and iPhone.

oh yeah... I think that is true

[serr]

Ok, can you guys dumb it down for me? How do you get the sound from the stage to the computer and from the computer to the main and monitor speakers? Do you add VST effects in the track inserts, NOT input FX?

Just trying to get a visual here...

Mic preamps, converters, & audio interfaces in a 8-space rack with a Mac Pro sitting on top in the back or side corner of the stage. There's no to or from stage. Stage is home base.

Mics patched into the preamps in the back of the rack.

Main and monitor mix outputs go to either the amp rack directly or the stage box and thru an existing system for a festival hit when I'm working with a band. IEM's patch into the front of the rack (there's a headphone amp in there too).

I use VST fx on track inserts. Both input tracks and tracks used as fx buses.

[Jeffsounds]

Mic preamps, converters, & audio interfaces in a 8-space rack with a Mac Pro sitting on top in the back or side corner of the stage. There's no to or from stage. Stage is home base.

Mics patched into the preamps in the back of the rack.

Main and monitor mix outputs go to either the amp rack directly or the stage box and thru an existing system for a festival hit when I'm working with a band. IEM's patch into the front of the rack (there's a headphone amp in there too).

I use VST fx on track inserts. Both input tracks and tracks used as fx buses.
Wow, that's pretty cool! Question: How do you use input tracks and tracks as busses? I saw something about using a track as a buss a few days ago but now I can't find it!!!

[serr]

Wow, that's pretty cool! Question: How do you use input tracks and tracks as busses? I saw something about using a track as a buss a few days ago but now I can't find it!!!

I'm using familiar mixing desk terms like 'input' and 'bus' to describe how I'm using Reaper tracks. There is no 'bus track' that you are missing. I'm simply routing some audio to a track that I'm using as I would use what would be called an aux or bus on a mixer or in other DAW's.

[Jeffsounds]

Hey, Andy! Looking at your TourTech Theme. Pretty cool! Questions:

What is VOG? I'm assuming it has something to do with vocals?

Tunes - I'm assuming music played during breaks or prior/post show?

What is SUBS?

What is TRAX?

What is VOX $?

Just trying to get an idea of what you have set up. I like your organization! Nice job on the theme!

[Jeffsounds]

I simultaneously record all the inputs and any fx I run to multitrack.
I'm curious about the recording of the show. Do you just record one long show and edit it later? Or is it possible to separate recording songs on the fly?

This type of setup would also be good as a mobile recording service.

[Jeffsounds]

Mic preamps, converters, & audio interfaces in a 8-space rack with a Mac Pro sitting on top in the back or side corner of the stage. There's no to or from stage. Stage is home base.
How do you mix the show from the stage? Don't you have to be out front for that?

[sstillwell]

Hey, Andy! Looking at your TourTech Theme. Pretty cool! Questions:

What is VOG? I'm assuming it has something to do with vocals?

Tunes - I'm assuming music played during breaks or prior/post show?

What is SUBS?

What is TRAX?

What is VOX $?

Just trying to get an idea of what you have set up. I like your organization! Nice job on the theme!

VOG = Voice Of God - a (usually unseen) announcer. Used for public address.

Tunes = yes, break music.

SUBS = Probably subwoofer level for aux-fed subs. Fairly common live sound technique. Feed the subwoofers from a separate Aux send and ONLY send those channels there that need it. Cleans up the low end from stuff like vocal mic bleed, etc., even when you have HPF filters on those mics. Also allows closer song-to-song control of low end.

TRAX - Backing tracks, sequenced material that the band or artist will be playing along with. Could be an entire performance that a singer is singing along to - glorified karaoke, or could just be sequenced synth or percussion parts to add on to an existing performance.

VOX $ = The Money Channel - Lead vocal.

I'm guessing on most of those, but I'd use something similar on most scribble strips if I was on a board, as would most engineers. I might draw a star instead of "VOX $", or use BRK instead of Tunes, but it gets the point across either way.

Scott

[sstillwell]

I'm curious about the recording of the show. Do you just record one long show and edit it later? Or is it possible to separate recording songs on the fly?

This type of setup would also be good as a mobile recording service.

For me, I record one long show and edit it later. I will break it down by set - there's no sense in recording the breaks. Disk space is cheap, but stopping and saving gives me a known point that everything was committed to disk. Doing it every song risks not having everything ready by the beginning of the NEXT song and that's a no-no.

Scott

[Andy Hamm]

Hey, Andy! Looking at your TourTech Theme. Pretty cool! Questions:

What is VOG? I'm assuming it has something to do with vocals?

Tunes - I'm assuming music played during breaks or prior/post show?

What is SUBS?

What is TRAX?

What is VOX $?

Just trying to get an idea of what you have set up. I like your organization! Nice job on the theme!

VOG - 'Voice of God' - My talkback channel
SUBS - an aux send that is lpf that goes to the subs.
TRAX - Playback from the stage - lots of bands use them now
VOX $ - VOX is a vocal, this is the money vocal, or lead vocal

[sstillwell]

How do you mix the show from the stage? Don't you have to be out front for that?

Done it for years. It takes practice, and it takes a good band that knows how to manage their own levels. Can a good engineer do it better from out front? Abso-f*cking-lutely. Can I do better than most average hacks off the street? Also yes - because I know the band, the material, and the rig better than they do; an unfair advantage. :)

I use a wireless rig (bass guitar) and wander the audience for a few songs whenever I'm not singing at the beginning of the night to make sure levels are where I expect them to be, then leave it the hell alone except for spot checks periodically. If you're playing at an appropriate level, you should be able to get some feel for the mix from slapback from far walls, etc. it requires careful listening - and you have to know when to stop listening and just PLAY. An audience is far more accepting of a great performance that has all the levels in the ballpark than they are of a crappy performance that has everything nailed down with all the right fader moves, etc.

If you can afford a GOOD sound man, pay him and be happy. It's an art and can improve your sound drastically - IF you can find someone good. If you can find someone that isn't good yet, but has ears and is willing to learn and let his pay be based on his skill, maybe that's worth it, maybe not - your call. Otherwise, do it yourself and realize you have nobody else to blame if it sucks. You learn fast that way, or you learn to spend the money for the first option. :)

My $0.02 worth.

Scott

[Andy Hamm]

Oopps, I see Scott has already answered that.

On an unrelated topic, Scott would you be interested in making a few VST's for live use?

I'm looking for a simple DDL that is tied to the tempo bus and also allows you to select a delay time by specifing ms, but I need it to be able to duck the delay on input - so for short delays you will get just tails and an uncluttered vocal. It also has to have the standard hp and lpf. I do this now using the ReaDelay and Reacomp using a sidechain, but I'd like to have a go to DDL that does everything I need. Since it's used for live vocals, there needs to be some sort of sensitivity control for the comp so bleed doesn't keep choking the ddl.

The second thing that I'm looking for is a Difference analyser. I currently use Voxengo's SPAN as my analyzer, but it would be nice to have one that has a second set of inputs that I could use to send a measurement mic into, hit a difference button and it would just show me what is different between the input and the measurement mic input.

[Andy Hamm]

How do you mix the show from the stage? Don't you have to be out front for that?

I don't - the main reason I own two mix racks is so I don't have to mix from side stage or from the audio booths that you find in theaters.

My rigs consist of a mixrack and a FOH laptop with a control surface. FOH connects to the Mixrack via VNC and the control surface via rtpMIDI. This is all done either wirelessly or via an ethernet cable. I am somewhat tied down out front as I have an AC cable that runs to my FOH position that if I unplug, I loose my control surface. I could put another UPS at FOH which would allow me to roam around without the power restriction, but so far this hasn't been an issue.

I can also connect to the mixrack with a tablet running VNC, but again, it's not something that I find all that practical.

I usually will walk the room a bit when I'm mixing, which includes checking in with the band on stage - if they need monitor adjustments I can just do that from the side of the stage, and can also make mix adjustments from there as well.

For me, having these two places to mix from has always been enough for me, considering that it wasn't all that long ago that all we had was analog and there were no such options.

[sstillwell]

The second thing that I'm looking for is a Difference analyser. I currently use Voxengo's SPAN as my analyzer, but it would be nice to have one that has a second set of inputs that I could use to send a measurement mic into, hit a difference button and it would just show me what is different between the input and the measurement mic input.

This doesn't work as well as you would expect (because of comb filtering) unless you synchronize the two signals by delay time. What you're looking for is a poor man's version of Smaart. :)

Anyway, yes, I've thought about things like that (and others) in the past, and continue to mull them over. They're on my list. :)

Scott

[Andy Hamm]

This doesn't work as well as you would expect (because of comb filtering) unless you synchronize the two signals by delay time. What you're looking for is a poor man's version of Smaart. :)

Anyway, yes, I've thought about things like that (and others) in the past, and continue to mull them over. They're on my list. :)

Scott

Yes, a much simpler version of SMAART though (SMAART DI is still too heavy as well). Because it's an analyzer, is there no way no integrate a sync that would reasonably allign the two sources?

[serr]

How do you mix the show from the stage? Don't you have to be out front for that?

Haha. You can't and I don't. That's what we've been talking about this whole time in the wi-fi discussion! I use the UC-33e and Faderport MIDI controllers and an iPad. Sits on a little tray that hangs in front of me (think Revenge of the Nerds) and I can usually get at least 300' from the stage.

I adjust monitor mixes standing on stage right next to the musician. Then out into the room for the show. I can roam the venue and make sure the sound is consistent all over and then find my favorite spot to mix from.

Everything runs from my 'remote control' and I'm not tied to any one or two spots. Stage is home base.

I'm curious about the recording of the show. Do you just record one long show and edit it later? Or is it possible to separate recording songs on the fly?

This type of setup would also be good as a mobile recording service.

I record multitrack so I have the ability to mix the recording professionally after the fact. I record pre for all inputs and obviously post for any live fx used.

I don't put a moments thought into the recording when I'm mixing a show. I don't record the live soundboard mix and wouldn't want it to get out since it is not a complete or accurate balance by itself. So I'm absolutely not sitting there putting markers between songs with the aim of making an instant mix after the show.

Sometimes there's no interest in the recording and it just gets archived on disc to be forgotten about. Other gigs the live recording is the reason I'm being hired. This rig actually started as a remote recording rig that's now morphed into a complete live production rig.

[Andy Hamm]

Haha. That's what we've been talking about this whole time! I use the UC-33e and Faderport MIDI controllers and an iPad. Sits on a little tray (think Revenge of the Nerds) and I can usually get at least 300' from the stage.

Not strapped around your neck like a cigarette girl I hope!

[Jeffsounds]

VOG = Voice Of God - a (usually unseen) announcer. Used for public address.
That's exactly what I was thinking!

SUBS = Probably subwoofer level for aux-fed subs. Fairly common live sound technique. Feed the subwoofers from a separate Aux send and ONLY send those channels there that need it. Cleans up the low end from stuff like vocal mic bleed, etc., even when you have HPF filters on those mics. Also allows closer song-to-song control of low end.
So you are taking only the low-end instruments and sending them to the sub channel which feeds the sub power amp, giving you complete control of how much signal gets to the subs? Is that low-passed with an EQ?

VOX $ = The Money Channel - Lead vocal.
haha I didn't get the money channel being the lead vocal. FUNNY!

For me, I record one long show and edit it later. I will break it down by set - there's no sense in recording the breaks. Disk space is cheap, but stopping and saving gives me a known point that everything was committed to disk. Doing it every song risks not having everything ready by the beginning of the NEXT song and that's a no-no.
Good point! Makes sense if you're working a club where the band plays multiple sets. Pretty much the same outcome if you're doing a concert with multiple acts.

Done it for years. It takes practice, and it takes a good band that knows how to manage their own levels. Can a good engineer do it better from out front? Abso-f*cking-lutely. Can I do better than most average hacks off the street? Also yes - because I know the band, the material, and the rig better than they do; an unfair advantage. :)

I don't - the main reason I own two mix racks is so I don't have to mix from side stage or from the audio booths that you find in theaters.
So if you're just doing sound and NOT playing in the band, it would be better out front, no?

My rigs consist of a mixrack and a FOH laptop with a control surface. FOH connects to the Mixrack via VNC and the control surface via rtpMIDI. This is all done either wirelessly or via an ethernet cable.
So do you adjust faders in Reaper or is that what the control surface is for?

Thanks, Scott! Thanks, Andy! I hope you don't mind all the questions and apologies for hijacking the thread. I find this absolutely fascinating! It just never occured to me that running the sound could be done with a computer, even though it is pretty obvious and gives you MUCH more control!

Hmmm... Scot, are you the one that makes the SStillwell plugs?

[Andy Hamm]

No, I don't play in a band, I'm a FOH tech. I live in Canada, where I do most of my work but I regularly do dates in the US and have done shows in Mexico, Europe and the Middle East.

I send things with Subsonic information to the subs via an aux and run the mains full range. I don't own a production company or a PA, so the setup isn't always up to me. Subs on aux just lets you dial in your bottom end a little better as it isn't present on things like vocals.

Yes the control surface out front is fader control for Reaper. You don't want to mix with a mouse because it only allows you to touch 1 fader at a time, and this just isn't how it's done - I use all ten fingers sometimes.



That's exactly what I was thinking!


So you are taking only the low-end instruments and sending them to the sub channel which feeds the sub power amp, giving you complete control of how much signal gets to the subs? Is that low-passed with an EQ?


haha I didn't get the money channel being the lead vocal. FUNNY!


Good point! Makes sense if you're working a club where the band plays multiple sets. Pretty much the same outcome if you're doing a concert with multiple acts.




So if you're just doing sound and NOT playing in the band, it would be better out front, no?


So do you adjust faders in Reaper or is that what the control surface is for?

Thanks, Scott! Thanks, Andy! I hope you don't mind all the questions and apologies for hijacking the thread. I find this absolutely fascinating! It just never occured to me that running the sound could be done with a computer, even though it is pretty obvious and gives you MUCH more control!

Hmmm... Scot, are you the one that makes the SStillwell plugs?

[serr]

Not strapped around your neck like a cigarette girl I hope!

Well, I was thinking more Revenge of the Nerds...
But, yeah, that's the deal. And I have been asked for peanuts before too:)

[Andy Hamm]

Well, I was thinking more Revenge of the Nerds...
But, yeah, that's the deal. And I have been asked for peanuts before too:)

If you wrap some p&d around it and yourself you could be a floating head walking around the venue!

[sstillwell]

So if you're just doing sound and NOT playing in the band, it would be better out front, no?

Hmmm... Scot, are you the one that makes the SStillwell plugs?

If you're not in the band, you had better be out front unless venue management gives you no choice in the matter. If you're running monitor world, that's a different story.

I mix from stage because the guys that can do it better than I can cost too much relative to how much bands get paid in our market - otherwise I'd just pay them and relax and PLAY, which is exactly what I do on the odd gig where I do have the option. I'm happy to share the love if we're getting paid well (which is f*cking rare, let me tell you. :( )

If I'm running sound for others, I do it from front of house, wirelessly if at all possible. I still have both kinds of rigs, though, and tailor the load to the gig.

Scott

PS: Yes, the JS plugs in REAPER labelled sstillwell were written by me (with a few exceptions where somebody re-wrote one with additional features). I also write VST plugins for sale on http://www.stillwellaudio.com - which is in my signature. Sales blurb over.

[midiot]

awesome thread!

[Magoostus]

I've done FOH mixing with REAPER probably 15 times. Originally I had reaper patched to the inserts of an analog mixer just for effects and processing and recording.

Recently I started trying reaper for full mixing and routing for aux's and mains. My results are mixed (heh....), some good things, some... not so good...

My number 1 annoyance was getting a solo bus working for headphones without muting other channels or outputs. It ended up being such a pain that I avoided solo'ing anything.

Initial project setup is kinda slow, something that needed to be done before hand.

The ability to record the multitrack audio directly to compressed OGG was great. Recording the show was just a given because it would take up such little space, it was no concern.

Reaper has true OSC support which was pretty cool. roaming with an ipad worked pretty well for mutes and fader levels (which is all I was energetic enough to program out)

I recently tried out Ableton Live 9, and honestly, i thought it was better than reaper for a few reasons.

Ableton Live has a true solo/cue bus, just awesome. the built-in live effects are small GUI and sit at the bottom of the screen. It's really easy to see them for the selected channel and make changes to eq and dynamics WITHOUT flipping through a bunch of windows and mouse clicks like reaper (REAPER's stock effects are superior though, in my opinion)

Either way, mixing live in-the-box is just way more fun. people still love it when I do hard t-pain style autotune during a soundcheck for the lol's. Software mixing brings back the fun live sound.