kamrulkonok/evalllm2026-french-defense huggingface dataset:
WhatsNewReaper7Summary_r2.pdf — page 5

REAPER 7.0: What’s New
Default Track/Mixer Panels: Dynamic Links
This illustration shows REAPER's track 
controls. Their exact position may 
vary according to factors such as the 
track height and the track control 
panel width. Note that Record input 
and Input source are only visible when 
Record arm is enabled.
By default, not all of these 
controls will be visible in the TCP 
when you first start REAPER. This 
is because both the Arrange View and 
the Mixer are open and shown.
Since all the controls are visible in the mixer (below right) many users prefer not to show them all in the TCP as 
well. REAPER's default mixer and track panel layouts are dynamically linked: if you close the mixer (Ctrl M), all 
controls will then become visible in the track panel. Reopen the mixer (Ctrl M) and some track controls will 
again be hidden. 
Especially if you are working on a laptop, or have only one monitor, in order 
to be able to make the best use of screen space you might wish to keep the 
mixer open only when you are needing to use it.
You can hover your mouse over any control for a tooltip. You click on a 
control to engage it (for example, click on the Mute button to toggle mute 
status of any track, click and drag on the Volume control to adjust the 
volume level), and right click on a control for a menu of commands, options 
and/or settings.
Some controls might not be visible because the track or mixer 
panel is not large enough to show them all. If so, you can 
increase the track panel width or height. 
To enlarge the track panel, hover your mouse over the right or 
lower panel boundary (see left) so that your mouse cursor 
becomes a double headed arrow, then click-drag to the right or downwards.
To increase/decrease the height of the mixer panel, hover 
the mouse over the top boundary of the panel, as shown 
(left) then drag the boundary up or down.
Depending on the track layout, the volume control may be a rotary control (as shown 
right) or a horizontal fader. All of these controls are explained further in the User 
Guide.
Note 1:
By default, the volume and pan controls work with audio items, not MIDI. To change this for any track(s), 
choose MIDI track controls, Link track volume/pan to all MIDI channels from the right-click menu.
Note 2:
REAPER comes with three different track and mixer layouts – A, B and C. By default, Layout A is used for both. 
Layouts B and C can be selected from the Options, Layouts menu. Note that B and C are by default not not 
dynamically linked.
You can change this, as well as making other changes using the Theme Adjuster, which is discussed later in this 
guide.
Page 5
WhatsNewReaper7Summary_r2.pdf — page 6

REAPER 7.0: What’s New
Arrange View Mouse Modifier Overrides
You might have noticed that there are no mouse modifiers listed for left drag in the arrange view category. This 
is basically because their actions are “hard-wired” into REAPER for some core tasks, such as:
Left drag
Remove any existing time selection and create new one
Ctrl Left drag
Create empty media item
However, REAPER recognizes that these might not be 
suitable for your particular workflow. For this reason, you 
can create up to four alternative sets of arrange view 
mouse modifiers – A, B, C and D.
By default:
Set A includes options suitable for use with marquee.
Set B includes options suitable for use with razor editing.
Set C can be used in conjunction with fixed lane comping,.
Set D includes options for making time selections.
You can, of course, change or modify any of these assignments, for example, if you prefer to use them in some 
other context. 
Sets A and B are usually activated/deactivated from the toolbar.
Set C is usually activated/deactivated from the Fixed Menu lanes context menu.
There are also individual actions to activate/deactivate all four sets. Probably most useful are the Toggle 
arrange view override mouse modifiers {A, B, C or D, as required] on/off. 
Page 6
WhatsNewReaper7Summary_r2.pdf — page 7

REAPER 7.0: What’s New
Power Editing with Mouse Modifier Overrides
You have already encountered several of REAPER’s mouse modifiers: these are what gives you the ability to use 
your mouse to perform so many tasks: for example, when razor editing – Alt right drag to make a selection, 
Ctrl left drag to copy a selection, and so on. There’s a section dedicated to mouse modifiers in the user 
guide.
REAPER’s mouse modifiers have to handle so many diverse tasks beyond just razor editing that 
finding your way around them can be a clumsy process. A solution to this is to be able to create 
your own alternative set of modifiers all relevant to a particular task (in this case razor editing), 
so that you can focus on that task alone. 
By clicking on the razor edit toolbar icon (shown above) you are able to activate an alternative set of arrange 
view modifiers dedicated specifically to razor editing, all using the left mouse button. The button lights up and 
becomes animated. You can define the various modifiers as you wish.
Power Editing with Razor Edits
There are four alternative sets available (for different types of activity), but we’ll get to C and D later in this 
guide. Razor editing uses alternative set B. Options, Preferences, Mouse modifiers, will open the mouse 
modifiers window. From the Context 
dropdown, select Arrange view override 
B.
As you can see, some tasks have already 
been defined – for example, left drag will 
Select the razor edit area,
You can change any of the default 
assignments, and/or assign tasks to those 
that are currently not used. For example, to 
change Shift left drag to Add to the 
current selection you would do this:
1.
Double click in the Behavior column in the Ctrl row. This will display a menu of tasks and commands. Click 
on Select razor edit area then Add to selection.
2.
Click on Apply.
Assignments can be made to 
currently unassigned modifiers 
(such as Ctrl) in the same way.
One benefit of this is that you 
can now do all your razor 
editing without needing to 
engage the right mouse button.
To remove any of your 
assignments, double click on it 
in the Behavior column and 
select Default action.
Note that REAPER’s default 
assignments for other contexts – 
such as Razor edit area will 
still apply. For example, Ctrl left drag will still move a selected razor edit area. These assignments too can be 
changed if you wish.
To disable the Arrange View B mouse modifiers and restore REAPER’s default assignments, simply click the razor 
editing button on the task bar again. The button will cease to be illuminated or animated.
Page 7
WhatsNewReaper7Summary_r2.pdf — page 8

REAPER 7.0: What’s New
Power Editing with General Editing
Power editing when using marquee is even simpler than 
it is for razor editing. Click on the 
marquee button on the toolbar to 
activate it. The button will become 
illuminated and animated as it 
activates Arrange view override A.
The various marquee tasks that you have been 
performing with your right mouse button can now be 
accomplished using the left button. Choose Options, 
Preferences, Mouse Modifiers and select Arrange 
view override A if you wish to change any of these.
Also as with Arrange view override B, click on the marquee button again to deactivate it and restore REAPER’s 
default assignments. The button will cease to be illuminated or animated.
Tip: Even if you prefer not to use these alternative mouse modifiers A and/or B for marquee/razor editing, you 
might still find them handy. There are many other tasks you can assign them to (e.g. scrolling, scrubbing), in 
which case they can be activated/deactivated from the Actions List and assigned to toolbar buttons.
Media Item Editing with Track Group Items
 Here we are looking at grouping not track 
controls but media items within and across 
the tracks, so that an item selection can be 
edited together. 
For example, you might want to adjust the 
item volume handle for a selection of 
items, or move or copy them together 
across several tracks.
Track item grouping behavior can in part 
be managed via the item and track media 
grouping tool on the main toolbar. Right-clicking over this tool displays the menu shown above.
With REAPER 7, a new option has been added, Track media razor edit grouping affects only items that 
start and end at the same time. By default, this option is set to on.
Page 8
WhatsNewReaper7Summary_r2.pdf — page 13

REAPER 7.0: What’s New
Editing Media Items
Ideally you’ll want to finish media item edits before comping. However, the need might 
arise for you to make edits to one or more of your items after you have begun comping.
In this case, you can enable editing using the context menu toggle command Comping, 
Allow editing of source media while comping. The display changes, as shown on 
the right. The top half of each source lane is where you make your edits. The bottom 
half highlights your comped segments, as shown here (right).
Your editing can include fades and/or crossfades. Any fades/crossfades applied to media 
in the source media lanes will also be applied in the comp lane. However, the fades in 
the comp lane can be edited independently if you wish, as shown here (below right). 
Double-click in the crossfade area if you want to access the crossfade editor.
It is possible that in making your edits your source item could now get out of sync with your 
your comp lane. Happily, the area of the source lane that was originally copied to the comping 
lane will remain highlighted: clicking there is one way to restore the original comp area and 
remove whatever edits were made in that lane.
Another option is to use re-comping, which can be achieved by choosing Comping, Copy edited media items 
to new lane and re-comp (Shift left click) from the comp area context menu. This will preserve comp lane 
edits by moving them to a new source lane and creating a new comp area so that the edits are copied right back 
to the comp lane. Thus, the edits become a new source lane alternative which is available for you to use while 
comping.
When you have finished editing, remember to disable Allow editing of source media while comping.
Sealing the Deal
So … you’ve finished editing and comping your media items, what now? You might wish to protect your comps 
from any accidental damage. You have a number of options. For example, two possibilities are:

Right-click on the comp lane’s control button and choose Show only lane 
from the context menu. This will collapse the track as shown here. 
Marquee all items in the comp lane, press F2 to open the Media Item 
Properties window. Select Lock then OK. You can then use the track 
panel context menu to disable Fixed Item Lanes for this track.  … or ….

Marquee all items in the comp lane
Ctrl drag and drop to copy to a new track.
With all items still selected, press F2 to open the Media Item Properties window.
Select Lock then OK.
Use the Track Manager to mute and hide your original track.
Converting Takes to Lanes
Existing tracks that make use of REAPER’s legacy takes system cam be converted into fixed item lanes. Select 
the track and from the right click context menu choose either Fixed item lanes or Fixed item lanes (convert 
takes to lanes).
Thus this …
Becomes this ...
Then, after turning on 
Comp into new empty 
lane, this.
Page 13
WhatsNewReaper7Summary_r2.pdf — page 14

REAPER 7.0: What’s New
Mouse Modifiers for Power Users
Below are summarised REAPER’s default mouse modifiers and a sample of the many actions. Chapter 15 of the 
User Guide includes information about how these can be customized. 
Mouse Modifiers
Fixed lane comp area  – Left drag
Default action
Move comp area.
Shift
Move comp area ignoring snap.
Ctrl
Copy comp area and media item together.
Shift Ctrl
Copy comp area and media item together ignoring snap.
Alt
Move comp area and media items.
Shift Alt
Move comp area and media items ignoring snap.
Shift Ctrl Alt
Move comp area and adjacent comp area edges ignoring snap.
Fixed lane comp area – Left click
Default action
Move comp area to lane under mouse.
Shift
Comping, Copy edited media items to new lane and re-comp.
Alt
Delete comp area including media item.
Shift Alt
Heal comp area with previous adjacent comp area in same lane
Ctrl Alt
Delete comp area but not media item.
Shift Ctrl Alt
Extend comp area to next comp area or end of media.
Fixed lane comp area – Double click
Shift
Set loop points to comp area.
Ctrl
Extend comp area to next comp area or end of media.
Fixed lane header button – Left click
Default action
Play only this lane.
Ctrl
Toggle playing this lane.
Alt
Play only this lane while mouse button is pressed.
Fixed lane header button – Double click
Default action
Comp into lane.
Shift
Select items in lane.
Ctrl
Toggle playing this lane.
Shift Ctrl
Insert lane.
Alt
Delete lane (including media items).
Fixed lane comp area checkboxes: The two checkboxes to avoid empty track space when clicking source 
lane and when mouse editing a comp area can be enabled to limit comp area edits to within media item edges.
Assignable Actions
The actions list includes numerous fixed lane comp area actions which can be assigned to keyboard shortcuts, or 
toolbar buttons, or as mouse modifiers. Here is a brief summary of categories. For more detailed descriptions of 
options, see the Actions List (Actions, Show actions list).
Add comp area for lane under mouse
Move comp area up/down
Set loop points 
(inc with half or one second 
preroll/postroll
Split comp area 
Split media items
Move comp area
Razor edit: create comp area
Copy comp lane items
Move items down to next available lane
Delete lanes
Turn comping on/off
Explode takes on selected tracks to fixed lanes
Preferences and Options
REAPER’s Appearance, Track Control 
Panel preferences settings include an 
option to specify default behavior when 
clicking on the fixed lane collapse button. This can be set to toggle between showing one or many lanes, and 
displaying big lanes or small lanes.
In Project, Track/Send Defaults there is an option to make fixed item lanes the default for new tracks.
Page 14
WhatsNewReaper7Summary_r2.pdf — page 17

REAPER 7.0: What’s New
Serial vs Parallel FX Chains
By default, the plugins in a track or item FX chain are processed in serial – that is, one 
after each other. For example, if you insert both ReaEq and then ReaComp into an FX 
chain, the audio is passed first through the EQ FX. With EQ added, it is then passed 
though the compressor. This concept is illustrated on the right. This is how most often 
you are likely to want to have your FX processed.
However, there may be instances when rather than processing effects in serial you wish 
to process them in parallel. That is, you wish to process two or more effects (in this 
example, EQ and compression) each independently of the other, with the separately EQ’d and compressed audio 
then mixed back together. Using this method, you can avoid applying the compressor to the EQ’d signal.
This concept is illustrated in the second diagram on the right.
The steps required to run two effects in parallel are simple:

Insert both of the FX into the track or item’s FX chain.

Right click over the second of these FX and from the context menu choose 
Run selected FX in parallel with previous FX.
This is illustrated in the chain shown on the left. The 
two vertical parallel lines indicate that the audio stream will be processed by ReaEQ 
and ReaComp in parallel before being passed on 
through ReaDelay.
This technique can be used in any number of cases to 
explore creative effects. For example, you could use it 
to apply reverb and compression independently of each other to an instrument, or 
two separate instances of compression to a vocal. 
Parallel FX processing can also occur within more complex models. Consider the 
third illustration shown on the right.
Here we have four FX in a chain: the audio is first processed through FX1, then FX 2 
and FX 3 (and only FX 2 and FX 3) are processed in parallel. To achieve this, FX 3 (and only FX 3) needs to be 
set to run in parallel to its immediately previous FX. Finally, the signals for FX2 and FX3 are merged and passed 
through FX 4.
More complex models are available: more examples, including FX containers, are considered in the next section.
Note: If MIDI items are being processed through midi FX in parallel which filter their own events you should 
instead use the command option Run selected FX in parallel with previous FX (merge MIDI). This should 
prevent MIDI data from being excluded.
Page 17
WhatsNewReaper7Summary_r2.pdf — page 18

REAPER 7.0: What’s New
FX Containers
Introduction
This advanced topic is not really suitable for beginners.
REAPER’s FX containers allow you more flexibility and a greater capability in creating and managing FX chains 
than simply running two or more FX in parallel with each other. This advanced topic might take a little longer for 
you to get your head around. It’s more appropriate for experienced users than for beginners.
To understand FX containers and how they work, let’s take an example. The 
actual FX used are for illustration only and are not the focus of the exercise. 
What matters is the technique, which could be applied using other FX. We will 
build two parallel FX chains rather than just two parallel FX. This concept is 
illustrated by the diagram on the right. To achieve this, REAPER will need to:

Pass the audio signal into a container.

This container will need to consist of enough channels as are needed to 
allow for (in this case) two parallel chains, i.e. four channels in all, one pair 
for each chain.

As the audio stream exits the container, the outputs of the two parallel 
channels will need to be merged as they are passed on thru channels 1/2 of the FX chain to any 
subsequent FX (in this example, ReaLimit). To recap, channels 1/2 are used by default by the track to send 
audio output to the master.
So, to summarize, a container will need enough inputs and enough channels (in this example, four) to allow the 
different streams to be processed independently of each other, and enough outputs (again, in this case four) to 
allow the streams to be merged as they exit the chain.
That’s a lot of theory to take in! Let’s see how it’s done in practice.
Example 1
To set up the FX container described above:
1. Click on the track’s FX button, then Add, then 
from the displayed list of FX double-click on 
Container. A container is added to the FX chain 
and its empty window displayed. Immediately 
after the container, in the far left column, add 
ReaLimit. Select the container. Your FX window 
should now resemble that shown on the right.
2. Click on the container’s button labeled 2 in+out to 
open its pin connector window. Here you can define 
its parameters. We’ll get to the pin connectors 
shortly. First, notice that by default the container 
inherits the same number of input/output channels 
as the track – in this case two.
3. Set the number of container channels, inputs and 
outputs to (in this example) 4 and complete the pin 
connector matrix as shown here (right). Instead of 
2 in+out, the container’s pin connector button will 
now read 2/4 in+out.
4. This directs input from track channel 1 to container 
inputs 1 and 3, and from 
track channel 2 to container 
inputs 2 and 4.
Output from container 
channels 1 and 3 will pass 
to track channel 1, and 
output from container 
channels 2 and 4 will pass 
to track channel 2.
Page 18
WhatsNewReaper7Summary_r2.pdf — page 19

REAPER 7.0: What’s New
5. Using the Add button in the container window we can now insert the required FX into the container’s FX 
chain – for this example ReaEQ, ReaDelay, ReaVerbate and a second instance of ReaEQ. Your FX window 
should now resemble that shown (above).
6. The pin connectors for the first two container FX will both need to be set to receive input from and send 
output to container channels 1 and 2 only, as shown here (below left).
7. Similarly, the pin connectors for other two FX will both need to be set to receive input from and send 
output to container channels 3 and 4 only (below right).
8. Finally, you can experiment with adjusting the various FX parameters – and save this file as a model that 
you might find useful for future use.
Note: A new container can be added to an existing FX chain by choosing Add FX container from the FX menu. 
You can also create a new container from this menu by selecting any FX or selection of FX in the chain and 
choosing Move to container from the FX menu.
Example 2
In this example we will split an audio stream into two chains – left and right – and apply separate FX to each 
stream before returning the signal to the FX chain, one FX to channel 1 (left) only and the other to channel 2 
(right) only. A possible application for this technique could 
be on a vocal, using one EQ instance to add body, the 
other to add clarity.
In this case, the pin connector numbers should be left at 
its default settings – two container channels, two inputs, 
two outputs.
The pin connector settings for each of the two EQ 
instances could then not be simpler. The first takes its 
input from and sends its output to channel 1 only (as 
shown here). 
The second takes its input from, and sends its output to, 
channel 2 only.
More Complex Applications
FX containers are handy, but even they do have their limitations!
More complex models can be created using REAPER’s pin connectors – for example, fine tuning your parallel 
processing requirements, or directing the output from some FX to a different track.  For these and other related 
topics refer to to the JS: Channel Mapper-Downmixer in the REAPER User Guide.
Tip 1: FX containers can be even more powerful when combined creatively with other REAPER features. For 
example, you can have two or more containers running in parallel with each other!
Tip 2: You can select any FX or number of FX in a track or item’s FX chain, then choose Move FX to container 
from their right-click context menu to move those FX into a new container. 
Page 19
WhatsNewReaper7Summary_r2.pdf — page 20

REAPER 7.0: What’s New
The Visual Track Spacer
REAPER’s visual track spacer can be used to insert a spacer 
between any tracks, as required. This can be helpful in easily 
identifying in a project tracks which belong together, or simply 
to prevent screen clutter. A simple example is shown here. 
Shown left are a vocal tracks and two guitar tracks. A space 
has been inserted above the first guitar track (track 3) to 
visually separate the guitar tracks from the other tracks.
Default track spacer height is 16 pixels: you can change this 
value in your Options, Preferences, Appearance settings.
Spacing is added in arrange view by right clicking over a track’s track panel 
and choosing Virtual spacer from the context menu. Options are to add a 
spacer before or after the track, or both, or to remove existing spacers.
To add a spacer after or before a number of adjacent tracks, simply select 
all of the required tracks and right click over any one of their track panels: 
choose Virtual spacer from the menu, then make your selection as before.
Note that if multiple tracks are 
selected, the space will be 
added before the first track in the selection, or after the last track, 
or both, depending on your menu selection.
A quick and easy way of adding or removing spacers between 
tracks is within the track manager. The track manager is covered 
in detail in Chapter 12. 
For now, note that spacers can be added above any track or tracks. 
Simply click in the Spacer column for each track where you require 
spacing to be added: click again to remove the spacing (see above left).
If you are moving a track or track selection up or down the track order, you 
can drop the track below a spacer to place it after the spacer, above a spacer 
to place it before the spacer, or in the middle of a spacer (as shown here) to 
show spacers both above and below it.
To move a spacer from one track to another, use Left drag up or down. To copy a spacer from one track to 
another, use Ctrl left drag up or down.
Page 20
WhatsNewReaper7Summary_r2.pdf — page 21

REAPER 7.0: What’s New
Item Fade Default Settings
Separate fade/crossfade settings can be set for imported media items, split media items, recorded media items 
and fixed lane comp areas – Preferences, Project, Item Fade Defaults.
A new option has been added to Apply 
fade-in/fade-out/crossfade to 
MIDI items. These will include project 
auto-crossfade settings.
Note that fades on MIDI items are 
applied to velocity, not to volue.
Page 21
WhatsNewReaper7Summary_r2.pdf — page 23

REAPER 7.0: What’s New
Animated Icons
Some icons on your toolbar are animated by default. Most icons, including toggle icons and those that you add 
yourself, can be animated if you wish. The main exceptions are tools that simply execute as command, such as 
new project. The item grouping and move envelope points with media items tool are animated by default, but 
you can turn this off if you wish. 
Toolbar animation is managed within the Customize menus/toobars dialog.
1.
Right click over the toolbar background area and choose Customize toolbar … from the menu. This will 
open the Customize menus/toolbar dialog with Main toolbar selected.
2.
Right-click on the name of the tool that you wish to modify. From the context menu choose Highlight 
with animation based on toggle state.
3.
A submenu of options will be displayed. These are explained below.
4.
Make your choice or choices from this submenu.
5.
Click the Apply button. When you have finished making your changes click on OK.
Animation submenu options
Do not animate, Animate if toggle state enabled, Animate if toggle 
state disabled: these three options are self-explanatory and mutually 
exclusive. Select whichever you require.
Highlight animation or Armed animation: you can select either one of 
these visual effects, or one of the blink options.
Slow blink or Fast blink: these cause the selected tool to blink, or flash, 
between two different color states. In the default theme these are red and 
green.
Opening a File in Recovery Mode
Any computer program will crash given the right (or wrong?) circumstances. This can be because of a problem 
with some third party plug-in. If this 
happens, you should enable the option to 
Open with FX offline (recovery mode) 
when re-opening the file from the File, 
Open project dialog box (see right). 
This will open the file with all FX set offline. 
By reintroducing them online one at a time, you should be able to identify which one is causing the problem. To 
then fix the problem you should remove this plug-in and replace it with another of equivalent functionality.
Another method is to hold down Alt while you open a file from the File, Recent projects menu.
Track Channels
REAPER now supports up to 128 channels for routing, etc.
ARA Pooled Edits
REAPER now supports ARA pooled edits. 
Options, Preferences, Plugins, ARA
See Melodyne documentation for more 
information about editing.
Page 23
WhatsNewReaper7Summary_r2.pdf — page 24

REAPER 7.0: What’s New
Envelope Color Overrides
Envelope color overrides offer you a greater capability to customise the colors used for your envelopes. To use it 
to its full extent you will need to understand something about boolean logic, explained in Chapter 6.
To access this feature, choose Options, Preferences, Appearance, Envelope Colors.
The number of ways in which this can be used is almost limitless, and everyone will have their own ideas. Here 
are some example.
To create an override rule, click the Add button then create your definition. Here are two simple examples. 
You might use a variety of compressors and often need to automate ratio and threshold. You can define a color 
override so that ratio and threshold envelopes always use your preferred color, regardless of the actual plug-in.
1.
Click on the Add button. You will be asked to type a name. Type ratio, click OK.
2.
Double click on the color shown, select your color and click OK.
3.
Click again on Add, type thresh, click OK pick a color as before 
and click OK.
4.
For both of these, if Enabled is not selected by default, click in the 
Enabled column to enable them. You should see a mark (as shown 
on the right).
5.
Now add a compressor of your choice to any track and add envelopes for both ratio and threshold. They 
should conform to your color choices.
Let’s get a bit more clever. 
We might use delay and reverb often in our mixes, and also often want 
to automate the wet parameter. We also want to color code the 
envelopes so it is visually obvious whether this is a delay envelope or a 
reverb one. The rules shown here (right) will achieve this. Note that 
you will need to type spaces both before and after the AND.
Now let’s throw a spanner in the works! Suppose your FX library includes a reverb plugin that doesn’t have 
“verb” in its name? Let’s call it “SuperDoop.” What then? You can edit the rule to allow for this!
We amend the second rule to read:
( Super OR verb ) AND wet
Note that a space is required after opening and before closing brackets. Spaces are required before and after the 
OR and the AND.
You can also use a NOT operator. For example, look at these two rules:
gain AND rea and
gain NOT rea
This would allow you to apply separate color coding to a Gain parameter depending on whether it is one of the 
Cockos Rea plug-ins or not.
That should give you enough ideas to get you started! The better your understanding of boolean logic, the 
greater use you will be able to make of this facility.
Note also:
The Remove button will remove a currently selected rule from the list.
The Export button can be used to export your current overrides to a .EnvColorList file.
The Import button can be used to import any previously exported color list file.
Note: If (presumably in error) two or more of your rules contradict each other, then REAPER will apply 
whichever one is higher up in the list.
Page 24
WhatsNewReaper7Summary_r2.pdf — page 26

REAPER 7.0: What’s New
Folder collapse track cycle options
In Preferences, Appearance, Track 
Control Panel there is an option to 
include hidden in the cycle options 
(see below). This allows you to hide 
child tracks altogether. 
Custom Toolbar Support
REAPER supports up to 32 general and 16 MIDI only 
additional toolbars that you can set up to suit your particular 
requirements. By selecting which commands or actions are 
added to these toolbars you are able create one click access 
to your most important commands and actions.
Detailed information and instructions as to how to set up 
and use custom toolbars are included in sections 15.23 to 
15.27 of the REAPER User Guide.
Page 26
WhatsNewReaper7Summary_r2.pdf — page 27

REAPER 7.0: What’s New
MIDI Editor: Settings
Option added (Options, Preferences, 
Editing Behavior, MIDI Editor) for when 
using one MIDI editor per project for active 
MIDI item to follow selection changes in 
arrange view. This can be set to on a per 
track basis or per media item basis.
MIDI Editor: CC Lane Improvements
The File menu has new commands to Rename last clicked note and Rename last-clicked CC lane.
The CC Lane dropdown menu includes Set lane (lanes with 
events) which will display a list of all lanes that already contain 
data, whether they are currently displayed or not. Shown here, this 
includes Velocity, Off Velocity and Pitch. Select one to display that 
lane.
When using the pitch lane, you can set a custom pitchwheeel range (in 
semitones), by right clicking over the text “Snap”  and typing a number. 
Optionally, you can also engage the snap option.
To scroll through the list of available CC lanes: to do 
this, hover your mouse over the currently displayed 
name and scroll with the mousewheel (see left).
For vertical zoom within a CC lane use Ctrl Mouse wheel: for horizontal zoom use Ctrl Alt Mouse wheel. For 
horizontal zoom use Alt Mousewheel.
Rendering Formats:  Raw PCM Data Supported
Render to File dialog now allows you to choose 
Raw PCM data as either your primary or 
secondary output format.
Page 27
WhatsNewReaper7Summary_r2.pdf — page 28

REAPER 7.0: What’s New
Enhanced File Backup Preferences and Options
Make yourself 
familiar with the 
various backup 
options described 
here.
Good management 
of backup 
procedures can 
achieve the twin 
objectives of 
keeping secure 
copies of your 
projects and media 
files without 
overloading your 
disk(s) with 
unnecessary file 
clutter.
By default, when 
you first install 
REAPER these 
options are all set 
to off.
Backup options are:

Backups when saving project. 

Preserve previous saved version as rpp-bak file, or

Preserve all previously saved versions of project in one large rpp-bak file, or 

Preserve previously saved versions of project as timestamped rpp-bak file, or

None of these.

Save timestamped backups to Backups project subdirectory. Helps to keep backup files 
organised and accessible.

Limit [number of] backups to most recent n copies or unique days. Sets a limit to prevent 
obsolete or redundant backups creating too much file clutter on your disk(s).
Auto-save options are:

Auto-save to timestamped file in project directory.

Save auto-saved project backups to Auto-Saves project subdirectory.

Limit auto-saved backups to most recent nn copies or unique days.

Specify directory for auto-saves to timestamped file.

Limit backups to most recent nn 
copies for current project, or unique 
days for current project, or copies for 
all projects, or unique days for all 
projects.

Auto-save to project file.

Set auto save interval to nn minutes when not recording, or when stopped, or any time.

Save undo history (RPP-UNDO) (if enabled in General Prefs) with auto-saved projects. 

Specify auto-save path for unsaved projects.
Page 28
WhatsNewReaper7Summary_r2.pdf — page 29

REAPER 7.0: What’s New
Other Changes to Preferences
REAPER’s preferences have been significantly reorganised, including the introduction of several new pages, some 
of which replace former sections and a considderable number of new items. Here is a summary of the main 
changes.
See the full REAPER User Guide (Chapter 22) for further details and explanations.
Sections removed
Project, Media Item Defaults
Appearance, Media Item Positioning
New sections:
Project, Item Fade Defaults
Project, Item Loop Defaults 
Page 29
WhatsNewReaper7Summary_r2.pdf — page 32

REAPER 7.0: What’s New
Plug-ins, ARA
Summary of main changes/additions to preferences
The following preference options have been added: 
Separate fade options for imported, recorded and split media items (Project, Item fade defaults)
Set default height for fixed items lanes (Project, Track/Send defaults)
Set meter display preference for new tracks (Project, Track/Send defaults)
Option to show gain reduction meters in tracks (Project, Track/Send defaults)
Separate loop source options for imported, MIDI, recorded, and glued items (Project, Item loop defaults)
Temporarily bypass oversampling/auto-bypass FX (Audio)
Reduce CPU usage when processing silent passages (Audio, Playback)
Scrub/jog volume gain (Audio, Scrub/Jog)
Seek if media items clicked when moving edit cursor (Audio, Seeking)
Disable auto-bypass when offline/stem rendering, or applying FX (Audio, Rendering)
Not to animate toolbar buttons (Appearance)
Option to hide child tracks when collapsing folders (Appearance, Track Control Panel)
Scale gain reduction on track meters (Appearance, Track Meters)
Envelope lane height to be set as percentage of track height (Appearance, Zoom/Scroll/Offset)
Set vertical zoom limits (Appearance, Zoom/Scroll/Offset)
Draw a selection indicator on selected items (Appearance, Media)
Hide child tracks during folder collapse toggle cycle (Appearance, Track Control Panels)
Options to customise envelope colors (Appearance, Envelope Colors)
ARA options added, including option to pool ARA edits (Plug-ins, ARA)
Page 32
61e régiment d'artillerie _ Ministère des Armées et des Anciens combattants.pdf — page 1

61e régiment d'artillerie
Commandement des Actions dans la Profondeur et du Renseignement
Subordonné à la brigade de renseignement, le 61e régiment d'artillerie (61e RA) de
Chaumont est le régiment de renseignement d'origine image de l'armée de Terre. Pour
remplir sa mission, il met en œuvre des drones (avions sans pilote) et est équipé de
moyens de réception d'images de satellites.
Insigne du 61e régiment d'artillerie - © armée de Terre/Défense
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Histoire
Fort d’une Histoire de plus d’un siècle, le 61e régiment d’artillerie a su à travers les
décennies s’illustrer en démontrant ses savoir-faire tactiques qui lui ont valu de
nombreuses distinctions militaires. Tant par son arme historique l’artillerie que, plus
tard, dans le domaine du renseignement et la mise en œuvre de drones, les Diables
Noirs ont servi leur Patrie avec le courage et la détermination qui honore leurs
Anciens. Cet héritage précieux confère au 61e régiment d’artillerie une singularité hors
normes, qui ne cesse de s’épanouir aujourd’hui encore.
Mission
Communément surnommé « les yeux de l’armée de Terre », le 61e régiment d’artillerie
est l’expert de la captation et de l’exploitation du renseignement d’origine image. A
cet effet, il a pour mission principale de fournir le renseignement d’origine image à des
fins d’appréciation de situation, de veille stratégique permanente, d’appui à
l’engagement des forces aéroterrestres et d’acquisitions d’objectifs et d’évaluation de
frappes. Le 61e RA est ainsi le spécialiste de la recherche du renseignement, de
l’aéronautique et des feux, ses trois piliers opérationnels.
Le régiment a également la capacité d’armer l’ossature d’un poste de commandement
de Groupement de recherche multicapteur.
Ainsi, le régiment déploie des soldats en opérations extérieures en continu sur les
théâtres d’opération majeurs où la France est engagée. Une centaine de Diables Noirs
servent à l’étranger. Le régiment se prépare à engager ses détachements équipés des
nouveaux drones SDT (système de drones tactiques) & SMDR (système de mini-drones
de renseignement, projeté depuis 2021 au profit de l’opération BARKHANE), qui
augmenteront singulièrement ses capacités de projection.
Composition
• 4 batteries de mise en œuvre des drones (SDT et SMDR),
• 1 batterie de traitement et de diffusion du renseignement,
• 1 batterie de maintenance,
• 1 batterie de commandement et de logistique,
• 1 batterie de réserve,
Qui sommes-nous ?
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• 1 centre de formation des drones de l’armée de Terre
• 1 groupe d’exploitation de l’imagerie
Matériel
• système de drone tactique (SDT) PATROLLER
• système de mini drone de renseignement SMDR
• micro drone PARROT ANAFI USA
• nano drone BLACK HORNET 3
• stations d’exploitation d’images des satellites HELIOS et MUSIS
Formation
Formation générale initiale : formation militaire de base assurée au centre de
formation initiale militaire (CFIM) de Verdun et commune à toutes les spécialités,
d’une durée de 12 semaines.
• Formation de spécialité initiale : formation visant à assurer l’apprentissage
technique de la spécialité choisie. Cette formation est dispensée au régiment pour
les spécialistes de la mise en œuvre des drones. La formation peut être
décentralisée pour les autres spécialités.
• Formation à la conduite militaire VL, PL, SPL ou TC en fonction du poste.
Sous-officiers :
À l'issue de la formation militaire à Saint-Maixent, les sous-officiers suivent leur stage
de spécialisation au centre de formation drones du 61e RA, ou un stage de 4 mois au
centre de formation interarmées des interprètes d'images de Creil. Pour les autres
spécialités, la formation est acquise dans les différentes écoles avant leur affectation
au régiment.
Officiers :
À l'issue du parcours en écoles militaires et d'une période à l'école d'application de
l'artillerie, les officiers de la spécialité drone suivent des stages de 2 mois au centre
d’enseignement et d’études du renseignement de l’armée de Terre (CEERAT) de
Saumur puis au centre de formation interarmées des interprètes d’images de Creil et
terminent par une spécialisation au centre de formation délégué du 61e RA.
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Emplois
Officier :
• Expert imagerie ; (Renseignement + commandement)
• Expert exploitation ; (Renseignement + commandement)
• Chef de section drones 4 (Commandement)
Sous-officier :
• Telepilote drone catégorie drone tactique ; (Pilotage)
• Technicien drone ; (Pilotage)
• Technicien liaisons de données tactiques ; (Transmission)
• Technicien spécialiste aéromobilité cellule et moteur des aéronefs ; (Mécanicien
aéronautique)
• Technicien spécialiste en aéromobilité avionique ; (Mécanicien aéronautique)
• Assistant gestion administration personnel militaire ; (Ressources humaines)
• Technicien réseaux mobiles ; (Transmission)
• Technicien maintenance mobilité terrestre ; (Mécanicien terrestre)
• Technicien imagerie ; (Renseignement)
• Technicien exploitation. (Renseignement)
Militaire du rang :
• Opérateur drone ; (Manutention + Pilotage)
• Pilote régulation ravitaillement ; (Transport)
• Operateur aéromobilité avionique ; (Maintenance aéronautique)
• Operateur aéronautique cellule et moteur des aéronefs ; (Maintenance
aéronautique)
• Operateur réseaux mobiles ; (Transmission)
• Telepilote drone catégorie mini-drone ; (Pilotage)
• Maitre de chien ; (Cynotechnie)
• Agent gestion administration personnel militaire. (Ressources humaines)
Implantation
Le 61 ème régiment d’artillerie est sur la base aérienne de Chaumont-Semoutiers en
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Haute-Marne.
La ville de Chaumont est à 15 minutes du régiment avec une population de 22 000
habitants.
En train à 2h15 de Paris, 4h40 de Lyon et 6h de Bordeaux.
© armée de Terre
Suivez le 61e régiment d'artillerie
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(BRCE)
Créée au 1er aout 2024 et basée à Strasbourg, la Brigade de Renseignement et
Cyber-Électronique est une brigade des forces terrestres délivrant un appui
spécialisée dans la recherche du renseignement militaire.
10 octobre 2024
Renseignement militaire : création du CAPR
Le CAPR est le Commandement des actions dans la profondeur et du
renseignement. Avec ses trois brigades, ce commandement Alpha doit accroître
la capacité de l’armée de Terre de combat à détecter, façonner et neutraliser…
09 septembre 2024
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54e régiment d'artillerie
28 février 2022
1er régiment d'artillerie
27 février 2022
Haut de page
Suivez l'armée de Terre sur les réseaux sociaux
Commandement des Actions dans la Profondeur et du
Renseignement (CAPR)
Le Commandement des Actions dans la Profondeur et du Renseignement (CAPR)
se distingue en tant que pivot stratégique, orchestrant des actions précises et des
analyses approfondies.
17 mars 2024
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2011113_IGI 1300_Protection du secret de la defense nationale_NP.pdf — page 1

PREMIER MINISTRE 
 
Secrétariat général  
 
 
 
 
 
 
Paris, le 30 novembre 2011 
de la défense                   
 
 
 
 
 
N°1300 /SGDSN/PSE/PSD 
et de la sécurité nationale 
 
Protection  
et sécurité de l’Etat 
 
 
 
INSTRUCTION GÉNÉRALE 
 
INTERMINISTÉRIELLE 
 
N° 1300 
 
SUR 
 
LA PROTECTION DU SECRET 
 
DE LA DÉFENSE NATIONALE 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                   51 b o u l e v a r d  de  l a  T o u r  M a u b o u r g   7 5 7 0 0   PA R I S   0 7  S P -  T é l .:  01. 71. 75. 81. 89 -  F a x :  01  71. 75. 82.  00
2011113_IGI 1300_Protection du secret de la defense nationale_NP.pdf — page 6

6
traitement, leur stockage et leur transmission. Les systèmes d’information et de communication, 
qui innervent aujourd’hui les infrastructures vitales, la vie économique et sociale comme 
l’action des pouvoirs publics, présentent des vulnérabilités propres. La menace constante d’une 
attaque informatique multiforme2 et la possibilité, à tout moment, de compromission à l’insu 
même de l’utilisateur, exigent en réponse des règles de sécurité des systèmes d’information 
adaptées à l’évolution rapide des techniques et un degré d’expertise fortement développé, 
diffusé auprès de tous les acteurs publics ou privés.  
                                                 
2 Blocages malveillants, destruction matérielle, neutralisation d’un système, vol ou altération de données, prise de 
contrôle d’un dispositif à des fins hostiles…