The source code for this post is available at. At the same time, though, this post only covers building for 64-bit Windows, as it’s the only platform I’ve tested at the moment. WDL includes a Visual Studio solution for loose_eel, but I’ll show how to use CMake here as it’s shorter and potentially easier to port to other platforms than the Visual Studio solution. The program I’ll use in this post compiles and runs a “hello world” EEL2 program, and is based off loose_eel.cpp in WDL. (By the way, I just learned about iPlug 2, which uses WDL, as I was writing this – make sure to check it out!) There doesn’t appear to be much documentation for WDL online, unfortunately (though there is a WDL forum here!), so my hope with this post is to help with some of the hurdles I had when building EEL2 for the first time. I’ll conclude with a few neat things I learned about EEL2 by looking at the compiler. WDL might also be useful for developers looking for a lower-level look into JSFX. For instance, one could use JSFX scripts in a standalone FX system or create new versions of VSTs using JSFX. WDL is open source, and is intended to allow JSFX and EEL2 to be integrated into programs other than REAPER. In this post, I’ll outline how to build Cockos’ EEL2 compiler, which is a part of of their WDL library. I also found a slightly acceptable workaround: Copy the comped events down to a single lane, then I won’t forget what the comp was if I wanted to mute all prior takes.REAPER’s JSFX scripts are written in the EEL2 programming language. I really don’t like having to use the Cycle recording more in an unintended way like this just to be able to solve the problem of recording a MIDI take and being able to ignore the others. But to not think of this, and it CLEARLY be an unintended use case…Ĭubase is still in need of a usability and interface overhaul. If what you’re proposing is to use a feature for “X” to solve a problem for a different scenario (use “Cycle” recording mode to workaround the limitation I’ve described), then … I guess that might work? It didn’t even occur to me to set the cycle markers to the whole length of the project (I only care about the “NOW”… and don’t want to be bothered by a range) and just go back to recording as I would normally. “You can record in a cycle, that is, you can record a selected section repeatedly and seamlessly.” (See: ) “Cycle” doesn’t mean… loops? So you’re proposing that I turn on “Cycle” recording that (according to the manual) is: Wanted to provide a little more color to the scenario where I want to be able to simply “record and ignore all the other lanes/takes - and not mess up any of my editing/comps”. But now I’m thinking the only solution is to use the “MACRO” (oh god)… to “copy the track without events” and just mute the current track. This is a very common thing I want to do… Come back to a track, add a few more takes, clean up some stuff. But now that I’ve performed some slicing and dicing with the comp tool, the unmuted tracks make up my current track… that’s decent… This is now a nuisance as I want to lay down a few more takes… Previously, prior to comping, I simply “Shift-M” after a take … and pause to breathe (sorry… cycle mode won’t work for me… I’m not on Adderralllll). (Note: The way the comping seems to work with MIDI is by effectively muting all other lanes, so you’re left with unmuted events that make up the final track) The problem is that I’m basically forced to create a whole new track so that I don’t screw up my current comped events. I want to now go and do a couple more takes for a section of the track… maybe even the whole thing. It lets me work in the same fashion as audio, where it mutes other lanes… splits across lanes… it’s pretty fluid, and a wonderful tool. I do admit, the “comp” tool actually does the right thing! when working with MIDI lanes that have been muted. The current bass track currently has 7 lanes, of which I’ve “comped” bits and pieces from about three of the seven lanes. So tonight I’m going back to cleanup a bass track for a song I’m working on.
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