REAPER For Game Audio Asbjoern Andersen


In this how-to guide, Sound Designer Javier Zumer dives into Reaper for Game Audio: Learn how to get off to a flying start, explore a number of key features, and discover a variety of ways to render:
Guide and images by Javier Zumer
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Part I: Starting Up

I’ve been using Reaper for a while now and wanted to write about everything that I’ve learned and also explore the features that I want to know more about. This is mostly aimed at game audio but many things may apply to other fields.

It could be useful to know that I’ve been a Pro Tools user for many years so that is the base from which I’m judging my experience with Reaper. This first article will be a tour of the preferences and shortcuts with an emphasis on translating the best of the Pro Tools experience to Reaper.

Reaper_Image_01

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Transitioning from Pro Tools

I have done a good effort to try Reaper’s workflows before adapting it to behave like Pro Tools. Having said that, after many years of daily Pro Tools use, I had a general shortcut workflow for editing and moving around the project that I thought it was a shame to lose so this is the main thing I “transferred” from Pro Tools.

It was amazing to see how easy is to customize shortcuts and mouse behavior in Reaper. Pro Tools offers some options plus you can use external tools to add even more but Reaper directly gives you full control. It is remarkable. For some of these to work, you need to tweak both Actions and Preferences.

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Pro Tools Workflows and shortcuts

It was amazing to see how easy is to customize shortcuts and mouse behavior in Reaper […] Reaper directly gives you full control.

First, I re-mapped shortcuts for the main editing actions:

• A: Trim Start to cursor
• S: Trim End to cursor.
• D: Fade in to cursor.
• G: Fade out to cursor.
• B: Split items on cursor position.
• Ctrl + Shift + 3: Glue Items. Looks awkward but easy to reach with the left hand and already in my muscle memory.

Additionally, I’ve changed the scrolling and zooming behavior so it is more intuitive (for me, of course):

• Mousewheel: Vertical Scrolling.
• Mousewheel + Shift: Horizontal Scrolling.
• Mousewheel + Alt: Horizontal Zoom.

The mouse behavior felt a bit odd to me, particularly time selection, so I changed it to be more similar to Pro Tools. This can be accomplished in Preferences > Editing Behaviour > Mouse Modifiers, within the “Arrange view” and “Track” Context.

• Left click + Drag: Marquee Select items (This is changed on “Track” instead of on “Arrange View” which I found a bit odd.
• Right click + Drag: Select Time. (Changed in the Arrange View).

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Actions Shortcuts

Reaper offers a great array of options to customize shortcuts, which you can access on the Actions menu. To get the most of this options, I recommend that you download the SWS/S&M extension which adds even more possibilities. I am still building my Reaper workflow but for now, here are some good ones you can consider adding to your repertoire:

Default Actions I like to use:

• Shit + Double click: Time selection as items.
• Alt + Left Drag: Offset item time. Fantastic for quick variation, really missed this in Pro Tools.
• Ctlr + Left Frag: Copy item.
• Alt + Click on take edge: Stretch item changing its sped (with or without changing pitch, depending on the take settings)
• Ctrl + Alt + R: Render.

Actions I’ve customized:

• CTRL UP/DOWN: Nudge Volume
• Shift + UP/DOWN: Pitch up/down 1 semitone.
• F: Make mono (L channel).
• Shift + D: Dynamic Split items (Pro Tools Strip Silence)
• Tab: Select next item (across tracks)
• Ctrl + Tab: Move cursor to next transient in items
• Arrow Up: Select and move to item in previous track.
• Arrow Down: Select and move to item in next track.
• Alt + T: Trim item to selected area.
• R: Reverse take
• Shift + R: Insert region from selected items.
• Shift + Alt + R: Create region like time selection.
• Ctrl + T: Create time selection to selected item.

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Need more help with REAPER? Get it here:
 
Looking for more help with REAPER, or do you want to read or share tips, ideas and resources? Visit the new REAPER channel on the Sound Community Discord server here

Preferences

I am one of those weirdos who enjoy diving into a preferences menu. Again, Reaper offers an amazing amount of possibilities and options to tweak so your workflow doesn’t get in the way of creativity. It also includes a search box so you can quickly find what you are looking for. These are the preferences that I’ve found useful or nice to have for now:

Reaper_image_02

General -> Import/Export configuration: I use these to move around and back up all my settings, presets and bindings. Very neat.

Reaper offers an amazing amount of possibilities and options to tweak so your workflow doesn’t get in the way of creativity.

General>Paths -> I use a default render path so all rendered files go to a separate folder like on Pro Tools and Logic.

General>Keyboard/Multitouch -> Prevent ALT key from focusing main menu: Since I use alt + mousewheel for horizontal zoom, this prevents the main menu to go into focus each time I zoom. I was very happy to find this one.

Project-> On the “Project Saving” section, I’ve set up 5-minute project backups. I use a similar config in Pro Tools and it’s saved my ass more than a few times, although I haven’t had the need to use it with Reaper yet. I’ve also ticked the “Prompt to save on new project” so any work you do is always saved and in its proper place. This is a workflow that comes from Pro Tools where you can’t have unsaved projects.

Project>Track/Send Defaults-> I like sends to default to 0dB and post-fader here.

Audio>Device-> Nothing particular here but a good place to check that your soundcard is working as intended. I request a sample rate of 48Khz here since this is the sample rate I use for most work.

Audio>Mute/Solo-> By default, tracks get muted automatically when they exceed 18dB. Before I knew this setting existed, this caught me by surprise while working and I didn’t know what was going on. I left it as it was for now but I’m not sure if I like it.

Audio>Playback-> I unchecked “Stop/repeat playback at end of project” since this is quite annoying when you are working with the last take of your timeline.

Audio>Recording-> Nice to able to change the filename for recorded files and amazing that you can use wildcards here. I haven’t changed this yet but is very good to have.

Appearance>Media-> This section has some nice things to tweak so you can make the most of your screen real state. I like to uncheck “Draw labels above the item, rather than within the item” so there is more space for the waveform. I also like to have the item volume control as a knob.

Editing Behavior-> I like that the horizontal zoom center uses the edit cursor as I use this to navigate the projects.

Editing Behavior>Mouse Modifiers-> Very nice section to really customized how to use the mouse. I described my changes here on the Pro Tools section above.

Plug-ins>VST-> A useful section to keep in mind. Very nice that you can re-scan for plug-ins without restarting the software. Make sure you add all the folders you need with “Edit…”. Once you have them, don’t press “Auto-Detect” or you will lose them!

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[tweet_box]Reaper for Game Audio – Starting Up & Rendering[/tweet_box]

Project Settings

Reaper_image_03

When saving a new project, I always have “Create subdirectory for project” and “Copy all media items into project directory” ticked. This groups all the project-related files in one folder so it’s much easier to move around as a unit in a very similar way as Pro Tools. Once you set up these options, they will stay the same for any new projects until you change them back.

The Project Settings window is also good to keep in mind. Under the Project Settings tab, I make sure that the project sample rates is where it should be. Reaper manages sample rate in a very seamless way and you will be able to import any sample rate into your project but is good to establish a project rate. I usually don’t need to worry much about this since I do most work at 48Khz but is always good to double-check. Since I don’t usually work with music, I have the timebases set to “Time” instead of “Beat.”

On the Media tab, you can set where your files will be saved. The default is good for me. It is also important to make sure you have “On import of media to project” on “Copy media to project path” to make sure that all the audio that your project uses is saved together and your project will always work, even if you then move library files around. Set here your recording settings to Wav and 24 Bits or whatever you need.

The Video tab could be useful for setting the frame rate and preferred size, although I haven’t used much video yet.

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Tracks & Routing

You can create a track just by double-clicking on the track section (left side).

On Reaper, tracks are content agnostic […] Any track can contain audio with any channel configuration (mono, stereo, surround, etc…) or even with MIDI or instruments.

On Reaper, tracks are content agnostic which I found crazy at first but soon enough I realized it was brilliant. Any track can contain audio with any channel configuration (mono, stereo, surround, etc…) or even with MIDI or instruments. So no need to create a track for each thing like on Pro Tools.

Parent or folder tracks are also a very handy feature. You can make a track a child of another track which means the child’s output will go to the parent input. The parent track will show an outline of all the audio contained on the child tracks but can also contain audio itself. Arranging tracks this way helps grouping them and organizing them. You can then apply the same FX to all tracks through its parent and also use the parent to render the resulting mix.

Reaper_image_04

Folder (or parent) tracks already take care of much of the routing since they connect in the way you expect by themselves. For sends, just use the mixer view (click on green area, see picture below). No need to create buses, you just select the track you wish to send to under the “Sends” section.

To record a track’s output on another track, you need to do something a bit odd. As you can see below, the first option marked in red represents the hardware and MIDI inputs. There is where you choose which input from your sound device you want to use. The second, marked in yellow, lets you choose what you want to record on the track including an output option which really means an output from another channel that is routed into the track. Quite confusing, I think.

So in summary, to record a track’s output on another track: First you need to send the audio from one track to another. Then, on the track you wish to record on, change the record section from “in” to “out”. This way, the track is not recording inputs (like your sound card input) but the output of the track that is routed to it. I think Pro Tools managed this in a more logical way, although you had to deal with buses.

Reaper_image_05

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    Grow your sound arsenal with an ever evolving collection of high-end cinematic and fresh sound effects!
    Here’s what to expect:

    RESONATING METAL FORCE offers a fresh sound palette of reverberant aggressive metal rampage, totaling 680 sound effects. Featuring creeping evolving metal pressure and resonating rattle, massive rumble, explosive impacts and nerve-racking squeaks.
    HORROR SERIES VOL.1: EVIL STRINGS TORTURED WIRES offers a unique toolset for nightmarish designs, totaling 564 sound effects. Featuring creeping dread of bowed metal wires, strings and double bass, providing exciting opportunities for unique layering.
    CINEMATIC MAGICAL ICE is offering a unique toolset for ice-cold freezing designs, totaling 267 sound effects. Great for fantasy genre with ice based magic, motion graphics, time lapse and flow motion freeze sequences.
    CINEMATIC WATER WHOOSHES AND TEXTURES is offering a unique toolset for water and underwater designs, totaling 285 sounds. Great for hyper realistic designs, water based magic, surreal underwater movement or motion graphics with liquid elements.
    CINEMATIC WOOD SYMPHONY is offering a variety of wood based recordings that were morphed into a unique audio experience that bends the boundaries between recognisable source and unusual wooden textures, totaling 611 sound effects.
    SCI – FI ELEMENTS VOL.1 is offering a variety of carefully crafted futuristic sound effects that vary from pleasant and musical to unpredicted and glitchy, totaling 364 sound effects.
    CINEMATIC METAL WHOOSHES is offering a unique collection of aggressive roaring metal whooshes and transitions with cinematic feel and mind bending characteristics, totaling 120 sound effects.

    WHAT SOUND PROFESSIONALS SAY:

    Victor Mercader – AAA Sound Designer (Apex Legends)
    “I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine. The Sci-fi Elements sound library is the perfect library to use and blend into my UI designs in Apex Legends.”

    Enos Desjardins – Sound Designer/Sound Effects Editor (Mission: Impossible – Dead Reckoning, Black Mirror)
    “Slava has been creating some really cool libraries which I find myself using time and again. Really high quality recordings to start with but then the cool processing he has used for example in his cinematic whoosh libraries really stand out. They are not just your standard generic whoosh sounds but are loaded with character and have a unique feel to them that is really fresh and cuts through in the nicest of ways.”

    Bjørn Jacobsen – AAA Sound Designer (CyberPunk 2077, HITMAN, DARQ)
    “Slava has for several years made high quality sound effects for me to play with. I use his sound libraries across multiple projects as lego blocks of my creations.”

    Stefan Kovatchev – Audio Director (MultiVersus)
    “Slava has put together an impressive collection of high quality source assets, recorded cleanly, and at high sample rates. It’s always refreshing to find a new purveyor of good source material. I particularly enjoyed Resonating Metal Force, which is comprised of very useable, unique tonal textures and impacts.”

    Samuel Gagnon-Thibodeau – Sound Designer/Sound Effects Editor (Dream Scenario, The Watchers, Hunting Daze)
    “Slava’s Cinematic Wood Symphony detailed textures and movements blend so well in what I’m usually looking for in terms of sound design. It really brings proximity and sensitivity to the action while feeling real and natural. The creative blend of the wooden sounds with whooshes and impacts also makes them very unique. I’m finding myself coming back to them more and more as they fit in many situations.”
     
    Yarron Katz – AAA Composer and Sound Designer
    “Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “‘Evil Strings Tortured Wires’ is an all-scary affair with plenty of really good, nightmarish, imaginative sounds from authentic materials, like double bass, dulcimer strings and metal wires. Sound-wise, this sample pack is clean and carefully recorded. The editing and processing of sounds is top notch, with sound design techniques applied very professionally. Overall, very gritty and not for the faint of heart.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “As far as the sound goes ‘Cinematic Magical Ice’ is both beautiful and mystical. I happen to like the icy textures that are oozing with coldness. Overall, this sound library boasts a good variety of effect samples ready to drop in various cinematic projects.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “The spotlight of ‘Cinematic Wood Symphony’ is the wide range of complex sounds that can be dropped in your sound design projects. I love the Wood Movement and Tonal sounds, and I’m sure thriller and horror music composers will be delighted with the Friction and Impact sounds. If your cinematic projects are lacking texture and impact sounds ‘Cinematic Wood Symphony’ is a library to be considered – especially if you’re looking beyond common wood sounds.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “Cinematic Water Whooshes and Textures is great for anything. You won’t be hearing recordings of calm rivers or relaxing streams, but cinematic whooshes and textures for soundtrack works and media projects. Whether you’re into this type of sounds, this pack was recorded quite well, professionally edited and processed with Slava’s own flair.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “Slava is back with another aggressive and energetic sample library called Resonating Metal Force – a 680 strong collection of modern metal effects captured using various tools and high-end studio equipment. The source material was edited and processed professionally for instant use. These sounds are primed for experimentation – whether you add your unique processing, layer several WAV samples or slice and dice to your heart’s content, the sky’s the limit. This sound pack is another winner.”

    50 %
    OFF
    Ends 1719266399
  • The whole 9 yards.
    Comprised of seven heavy hitting libraries, this bundle includes INTERACTIVE, SCI FI, GEARBOX, SORCERY, HERO, BROKEN, and MELEE. Save by bundling all SEVEN in a single library.

    GEARBOX:
    Boutique analog mechanical contraptions, steampunk gadgetry, gizmos and machines big and small.


    SORCERY
    Spells, deflects, casts, blocks, beams, and more. Unrivaled wizardry at your fingertips.


    BROKEN:
    Car crashes, explosions, crumbling buildings, earthquakes, ripping earth and metal, to debris, and more.


    HERO:
    HERO – Sword fights, stabbing, guillotines, impaling, battle cries, shields, drawbridges, armor, foley and more.


    MELEE:
    Punches, kicks, blocks, bodyfalls, grabs, slaps, bone breaks, blood splatters, and more.


    SCI Fi:
    Spaceships, machines, mechanicals, weapons and more. Technologies exceeding your boldest visions of the future.


    Interactive:
    The ultimate Game UI SFX library including clicks, pops, whooshes, musical and tonal elements, and ready to use designs for every UI action and game style.


    40 %
    OFF
    Ends 1718575199
Need specific sound effects? Try a search below:


Part II: Rendering

Rendering was probably the first feature that impressed me about Reaper. Being a Pro Tools user, the amount of possibilities is huge.

On Reaper, “rendering” represents many different ways and options for producing audio files from your project in a very flexible way.

Pro Tools calls it “bounce” while other DAWs use the term “export”. Reaper uses “render” which expresses well what is going on. Pro Tools “bounces” in a way that is close to analog technology, at least in workflow. And we only got offline bouncing on Pro Tools a few years ago. On Reaper, “rendering” represents many different ways and options for producing audio files from your project in a very flexible way.

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The Render Window

First, let’s have a basic look at the render window, which you can open by default with “Ctrl + Alt + R”. After this, I will go into more detail about some of the features.

Reaper_image_06

Many options to take into account, most of them are self-explanatory but nevertheless here are some to keep in mind (marked in red above):

•Source: This lets you choose where would you do your render from. By default, “Master mix” works the same as a bounce in Pro Tools but there are a few other types that are very useful and we will see in detail.

•Presets: You can save render presets which is very handy so you can consistently create files with the same settings or when your rendering needs keep changing within the same project.

•Tail: Careful with this one. It is on by default and you may not need it. It adds some extra time after a render. Super useful when rendering audio that is going through a reverb if you want to leave a decay time for it.

•Directory: You can render anywhere that you choose. My personal preference is to render on a “Renders” folder within the project folder itself. As I explained on the first part of this series, you can get this set up on Preferences > General > Paths.

•Fine name & Wildcards: Like any software, you can name your files however you want but that can be very limited if you are trying to render a set of files with a determined naming convention. Wildcards give you the possibility of naming things dynamically, getting information from the project, tracks, children, parents, current date and so on. Very powerful.

•Output format: You can use a few different formats, and even embed metadata. There is a secondary format available in case you want to render in both wav and ogg, for example.

•Render Queue: This is a nice option to have if you need to set up a bunch of renders. Just add them all to the queue and you can render all at once.

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Source or Render Modes

Reaper_image_07

Let me go into a bit of detail on this section since it is very powerful.

•Master mix: As mentioned, this works as a standard Pro Tools bounce. It would just render whatever goes through the master channel. You define which section of the project with the “Bounds” option. As you can see, you can do the whole project, your time selection, certain regions, or a custom time range. Pretty much anything you may need.

•Stems: Your selected tracks’ output including their FX and automation.

•Selected tracks via master: Similar to stems but if a track is in a folder (has a parent) those FX would affect it too.

•Selected media items: Renders every media item that you have selected as a separate file.

•Selected media items via master: Same as above but parent tracks affect items.

•Region render matrix: This option is so cool and different that it deserved its own section!

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Region Render Matrix

This option allows you to select which elements you wish to render based on the regions you have in your project. Maybe it doesn’t sound that exciting but for video game sound effects or VO, where you need to create many small files, is quite powerful. Let’s see an example:

Reaper_image_08

As you can see above, we have 2 different regions named A and B. We then have 3 tracks and two sets of sounds on each one. Now let’s say that we want to render all these items individually and we want to do it based on the region they belong to.

If we select “Region Render Matrix,” we can then click on the “Region Matrix” view.

Reaper_image_09

On this view we can see a graphical representation of the editor. Regions appear as columns, while tracks are rows. Where a region and a track cross, we find a square to represent this. If we select said square, we can render this specific track but only for the regions we wish. This is great for game audio since you sometimes want to import sound separated by layers so you can manage variations on the middleware side.

The Render Matrix allows you to export multiple files from multiple tracks and regions in an automated way.

If you think about it, this kind of a hybrid render mode, based on the tracks’ content and regions at the same time. Remember to use the tail option if you need it for reverbs or other effects. You can also mark the “Master mix” row for any region and get the mix of your elements also.

Reaper_image_10

The cherry on top is to combine this with wildcard naming.

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Wildcards

Reaper_image_11

This is a very neat feature that gives you a lot of power and flexibility to name your files.

Wildcards allow us to create formulas with context depending ingredients that will create the name for our files in a smart way.

Wildcards allow us to create formulas with context depending on ingredients that will create the name for our files in a smart way. As you can see, we can use a lot of information that comes from our project, tracks, regions, and all sorts of things including time, date and the computer itself.

So for example, let’s create a naming scheme for the project showed above. I’ve changed things a bit, there is one more variation now and I grouped those tracks into a folder. I also created a new track for a different event that want to create. Have a look:

Reaper_image_12

Ok, so let’s say we want to render the tracks within the Cannon folder individually so we can play with them later. As for the pass by sound, this is just a simple one layer sound and we have 3 variations so it would be nice to number them sequentially. All of this is easily achievable with wildcards.

For the first set of sounds we can use: $project_$parenttrack_$track_$region, which would result in something like “AwesomeEnemy_Cannon_Impacts_A” for the first item on the first track and something like “AwesomeEnemy_Cannon_Tail_C“ for the third element of the second track. As you can see, we are inheriting all these names from the project and tracks names. From the regions, we are getting their names and also their bounds define how much of the tracks we want to render via the render matrix.

Notice how when we are building the formula, we can see below how the result would be, which is useful to make sure you are getting what you want.

Reaper_image_13

For the second set of sounds, notice that they are all on the same region. Since we want to render each variation, we could create a region for each but in this case, it may be easier to just use the “selected media items” render mode and simply select them. We can still use the region name and/or number in our naming formula if we wish. In this case, there is no need. So we could use: $project_$track_$timelineorder[00]. That last bit of the formula would number each item sequentially, as they appear on the timeline, starting with “00” and then going up like “01, 02, 03…” and so on. The result is: “AwesomeEnemy_PassBy_00”

As you can see, it can be very convenient to save these settings as presets, so you can use whichever is closer to what you want in each case.

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Happy Rendering

I hope this gave you a nice overview on what you can achieve with all the different render workflows that Reaper offers. Anything that allows you to work faster and focus on the creative side of things is always welcomed and I think Reaper shines more than any other DAW in this area. See you next time!

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A big thanks to Javier Zumer for giving us a behind-the-scenes look at how to use Reaper for Game Audio! Learn more about his work here
 

Please share this:


 



 
 
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

  • Human Sound Effects Crowds: Emotions And Reactions Play Track 400 sounds included, 90 mins total $39.50

    This SFX library contains a wide range of reactions and emotional responses varying from quiet crowds to roared battle cries to a large selection of exclamations generated by a group of passionate theatrical actors in indoor venues.

    Apart from the vocalizations, we’ve also included recordings of more unusual crowd ambiances like people walking around the mics, falling down, sitting down and getting up, jumping around, marching, or just being present in the space.

    Crowds library is split into the following two parts:

    Small Groups: Includes small groups of up to 30 people which you can layer together and quickly create the sound of any sized realistic groups of people.

    Large Crowds: Brings pre-designed, easy-to-use sounds of medium to large crowds in various types of reactions, moods, and surroundings.

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  • A complete collection of sonic exploration by Slava Pogorelsky.
    Grow your sound arsenal with an ever evolving collection of high-end cinematic and fresh sound effects!
    Here’s what to expect:

    RESONATING METAL FORCE offers a fresh sound palette of reverberant aggressive metal rampage, totaling 680 sound effects. Featuring creeping evolving metal pressure and resonating rattle, massive rumble, explosive impacts and nerve-racking squeaks.
    HORROR SERIES VOL.1: EVIL STRINGS TORTURED WIRES offers a unique toolset for nightmarish designs, totaling 564 sound effects. Featuring creeping dread of bowed metal wires, strings and double bass, providing exciting opportunities for unique layering.
    CINEMATIC MAGICAL ICE is offering a unique toolset for ice-cold freezing designs, totaling 267 sound effects. Great for fantasy genre with ice based magic, motion graphics, time lapse and flow motion freeze sequences.
    CINEMATIC WATER WHOOSHES AND TEXTURES is offering a unique toolset for water and underwater designs, totaling 285 sounds. Great for hyper realistic designs, water based magic, surreal underwater movement or motion graphics with liquid elements.
    CINEMATIC WOOD SYMPHONY is offering a variety of wood based recordings that were morphed into a unique audio experience that bends the boundaries between recognisable source and unusual wooden textures, totaling 611 sound effects.
    SCI – FI ELEMENTS VOL.1 is offering a variety of carefully crafted futuristic sound effects that vary from pleasant and musical to unpredicted and glitchy, totaling 364 sound effects.
    CINEMATIC METAL WHOOSHES is offering a unique collection of aggressive roaring metal whooshes and transitions with cinematic feel and mind bending characteristics, totaling 120 sound effects.

    WHAT SOUND PROFESSIONALS SAY:

    Victor Mercader – AAA Sound Designer (Apex Legends)
    “I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine. The Sci-fi Elements sound library is the perfect library to use and blend into my UI designs in Apex Legends.”

    Enos Desjardins – Sound Designer/Sound Effects Editor (Mission: Impossible – Dead Reckoning, Black Mirror)
    “Slava has been creating some really cool libraries which I find myself using time and again. Really high quality recordings to start with but then the cool processing he has used for example in his cinematic whoosh libraries really stand out. They are not just your standard generic whoosh sounds but are loaded with character and have a unique feel to them that is really fresh and cuts through in the nicest of ways.”

    Bjørn Jacobsen – AAA Sound Designer (CyberPunk 2077, HITMAN, DARQ)
    “Slava has for several years made high quality sound effects for me to play with. I use his sound libraries across multiple projects as lego blocks of my creations.”
     
    Yarron Katz – AAA Composer and Sound Designer
    “Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “‘Evil Strings Tortured Wires’ is an all-scary affair with plenty of really good, nightmarish, imaginative sounds from authentic materials, like double bass, dulcimer strings and metal wires. Sound-wise, this sample pack is clean and carefully recorded. The editing and processing of sounds is top notch, with sound design techniques applied very professionally. Overall, very gritty and not for the faint of heart.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “As far as the sound goes ‘Cinematic Magical Ice’ is both beautiful and mystical. I happen to like the icy textures that are oozing with coldness. Overall, this sound library boasts a good variety of effect samples ready to drop in various cinematic projects.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “The spotlight of ‘Cinematic Wood Symphony’ is the wide range of complex sounds that can be dropped in your sound design projects. I love the Wood Movement and Tonal sounds, and I’m sure thriller and horror music composers will be delighted with the Friction and Impact sounds. If your cinematic projects are lacking texture and impact sounds ‘Cinematic Wood Symphony’ is a library to be considered – especially if you’re looking beyond common wood sounds.”
     
    Ginno Legaspi – SoundBytes Music Magazine‎
    “Cinematic Water Whooshes and Textures is great for anything. You won’t be hearing recordings of calm rivers or relaxing streams, but cinematic whooshes and textures for soundtrack works and media projects. Whether you’re into this type of sounds, this pack was recorded quite well, professionally edited and processed with Slava’s own flair.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “Slava is back with another aggressive and energetic sample library called Resonating Metal Force – a 680 strong collection of modern metal effects captured using various tools and high-end studio equipment. The source material was edited and processed professionally for instant use. These sounds are primed for experimentation – whether you add your unique processing, layer several WAV samples or slice and dice to your heart’s content, the sky’s the limit. This sound pack is another winner.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “Sound-wise, the quality of ‘Cinematic Metal Whooshes’ is clear and punchy, and very consistent from start to finish. The whole content promises to be a tool to get you going in your cinematic adventures – and it delivers.”

    50 %
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    Ends 1719266399
  • Farm & Horse Sound Effects Animal Farm Play Track 165 sounds included $69

    This library is dedicated to popular farm animals, rural backgrounds and agricultural activities – all you need around farm life. It features 165 sounds in total, from 14 different species with multiple variations for each animal, 25 discreet rural backgrounds and 10 types of modern and traditional agricultural activities.

    Recorded and mastered at 24-bit/96kHz high-resolution, Animal Farm took over a year to get ready, since the goal was to capture as many seasonal work activities, weather conditions and animal habits, as possible.

    List of animals recorded: Cat • Chicken • Cow • Dog (Wolf hound, Sheepdog) • Duck • Fowl • Goat (Mediterranean) • Goose • Horse (Arabian, Andalusian) • Pig • Pigeon • Rooster • Sheep (Mediterranean) • Turkey

    Types of agricultural work recorded: Chopping • Feeding • Gardening • Loading Manure • Milking • Mowing • Olive harvest • Sowing • Tilling • Watering

Explore the full, unique collection here

Latest sound effects libraries:
 
  • Presenting the most malfunctioning, dirty old gritty sounding engine failure library out there

    Featuring a staggering 81 files with numerous takes in most tracks, the Kaput sound effects library will cover the bases of almost any broken false starting engine scene one can imagine.

    I can honestly say, that finding the vehicles and tools for this library, has been among the most challenging I have come by. Old and broken cars and trucks are hard to come by these days. Most cars are obviously either driving and dont have start problems, and many of the rest just wont start at all.

    Just as rare are broken petrol powered tools, which usually fit the latter category of not working at all.

    Still, with amazing recording help from recordist Michal Fojcik Soundmind Poland, and just as amazing help from recordist Erik Watland from Norway, the Kaput sound effects library is featuring no less then

    24 different cars, trucks, moped and motorcycles

    1 boat engine

    A few weird sounding power generators and water pump motors

    Back firing exhausts

    Petrol powered garden tools, chain saws, and hedge trimmers

    Brutal construction machines

    From old eastern european trucks, vintage US V8 muscle trucks, classic scandinavian cars, and more modern diesel and petrol engines to funny sputtering dying petrol power tools.

    There is even a few more recording sessions planned, that just didn’t make the deadline for the first batch of sounds in this library (buying a copy of this first of sounds, will of course make any future sounds added to the library free of charge).

    KAPUT is 81 stereo and mono files, 96/24. 1,6 gb big, all UCS ready!

  • Hear the majesty of tropical seas from soothing surf, trickling water laps, and crashing wave sound effects.

  • ACOUSTIC GUITAR FOLEY FOR YOUR PROJECTS
    The SB111 ACOUSTIC GUITAR FOLEY Sound Effects Library is a collection of handling movements, grabs and sets, string noise, drags, impacts, strumming, fingerpicking, tuning, and the smashing and destroying of an acoustic guitar.

    A UNIQUE ACOUSTIC GUITAR FOLEY LIBRARY
    We’ve gone above and beyond just capturing the sounds of strumming and picking – we’ve recorded the nuances and details that make acoustic guitars so special. Like the subtle sounds of the guitar strap as it settles against your shoulder, string noise of fingers on the fretboard, the satisfying sound of the guitar being tuned, grabs and set downs, strings being clipped and even a full restringing sequence. Of course we’ve also included the playing of chords and riffs while strumming and fingerpicking – some played in tune and some out of tune. We did not forget to record your pick as it rattles around in the abyss of the guitar’s sound hole – and the satisfying sound of the guitar being smashed and destroyed. All the details you need to bring realism to your project.

    20 %
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    Ends 1719525599
  • The Drawers & Cupboards SFX library is an essential collection for professionals seeking high-quality sound effects for their projects. This library features 63 meticulously recorded sounds of opening, closing, and rummaging through cupboards and drawers, making it perfect for game developers, animators, and filmmakers.

    This library offers a diverse range of sounds, including:

    • Opening and closing cupboard doors
    • Picking up glass bottles
    • Rummaging through various materials (glass, mixed materials, containers, plastic)
    • Metal and wooden drawers opening and closing
  • Car Sound Effects Broken Car Engine Play Track 5 sounds included, 28 mins total $27

    My car engine broke! As a result of making a huge costly mistake caused by accidentally skipping an oil change service from getting dates and miles mixed up (on top of being a higher milage car), my 2006 Volvo V50 T5’s engine starting making incredibly loud knocking, clicking and rattling sounds. Took it for one last drive before it was picked up by a junk yard, and recorded the process. I put a DPA 4061 and a Rode NT5 in the engine and drove it around the neighborhood, first on residential streets, then drove it harder on some faster streets (the engine was so loud you can’t hear any other cars in the recordings), abusing the manual mode for higher rpm recordings the whole time until it started overheating, smoking and dumping liquid (coolant I think? Oil? Both?). I Quickly took the DPA out because it was right near a section of the engine that was overheating, but I left the NT5 in. Satisfied with what I recorded but still a couple miles from home, after my car cooled a bit I continued to record my drive home, this time with the DPA inside the car to get an interior perspective (this drive is labeled “bonus drive” in the library).

    This library is just 5 files, totaling 27 minutes and 28 seconds, 24/96k, 956MB. Quality Soundminer metadata and UCS compliant. Recorded with a DPA 4061 and NT5 for starts, idles, off, revving, slow to moderate driving, harder faster driving, with lots of variation. One file is just the NT5 engine recording for an additional 5 and a half minute drive, and one is just the DPA for an interior perspective of that drive.

    I’ll miss that car a lot, but at least I got some great recordings out of it! I hope you find them useful.


   

5 thoughts on “REAPER for Game Audio – Getting Started & Rendering

  1. I switched from Logic, Nuendo to Reaper for sound design for games. I love Reaper for it’s versatility. Customization is crazy. Not crazy about the built-in plugins. They sound solid, but Nuendo has great game sound effect plugins (randomizer, doppler) built-in. I cannot stand any sort of dongle though. Reaper starts everywhere I go with my laptop. And it starts in 1.5 seconds and has the Media Explorer to search through all my libraries.

    One trick I found. I often create folders for my sound effects, as you described, for routing. But I find regions a bit clunky sometimes. So I select all my sound effects from one sound variation, make a time selection of that, and on the top folder of that sound effect I then create an empty MIDI region. This MIDI region easily moves with the hole other sound layers for one sound effect. And now when rendering I render “Selected Media Items via Master”. I get the benefits of all plugins, and can still name MIDI regions how I want or I mostly just name the exported sounds after the track. So CreatureGrowl_01 02 03…

    In effect, the MIDI reagion just tells reaper what the boundaries of the sound are without having any information in it itself. But Reaper diligently renders all the audio from the subfolder tracks on the folder track within the bounds of the MIDI item. A nice trick.

    Chris

    • Oh, I see what you mean. I was just testing and that seems to work nicely. I’m also finding regions a bit clunky when you want to move things around, so using an empty MIDI region is a great trick for exporting variations.

      If you don’t use regions you do loose the region matrix capabilities but I’m thinking that that feature is the most useful when you want to export a combination of things, say mixed variations and also the individual layers to play with on fmod/wwise, which is something I sometimes find myself doing.

      In any case, thanks for the tip!

  2. For the authors Make Mono: F (Left Channel) shortcut, I actually setup a SWS Custom Cycle Action that goes through each channel (L, R, Normal Stereo) every time I press the C key. Look up “SWS/S&M: Open/close Cycle Action editor” in the Actions window.

    • That’s awesome! I just created a custom cycle similar to yours and works great! This is something I will cover in the future for sure. Thanks!

  3. That’s awesome! I just created a custom cycle similar to yours and it works great! Thank you so much, I will cover this in the future for sure.

Comments are closed.