REAPER Game Audio Tools Asbjoern Andersen


REAPER is a fantastic and much-loved DAW for anyone working in game audio - and to help make it even more useful, sound designer and audio engineer Chris “BØLT“ Bolte has compiled this extensive overview of essential REAPER scripts, tools and techniques for you. Check it out below:
Written by Chris “BØLT” Bolte, and republished here with his kind permission
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After having used almost all major DAWs, REAPER is the one that has truly rocked my world and is a piece of software I have become immensely passionate about. Over 20 years of recording, I’ve used Reason, Cubase, Nuendo, Pro Tools, Logic, Ableton, and Digital Performer, and still, REAPER is the one DAW that truly feels like home.

Fundamentally, I think the main reason for this is that REAPER doesn’t feel like it’s stuck in its ways or weighed down from being owned by a giant, faceless corp. It encourages curiousity, tweaking, redesigning, and shaping it into whatever you want it to be – and that’s what makes it so powerful.

It can run on a potato of a computer and is compatible with operating systems all the way back to Windows XP while also being running on the latest MacOS and Linux releases. The installer comes in at only 15mb, and, most perplexingly of all, it can even run as a portable install, launching straight from a flash drive on any PC!

Another amazing thing about REAPER, and the reason for writing this article, is the amazing community behind it. Its powerful APIs, scripting language, and support for deep extensibility has led to an incredible number of user-made helpers, plug-ins, tools, and themes that can help you create the DAW of your dreams, with features that exceed just about any other offering on the market.

 

Whether you’re a sound designer, composer, or both – in this article I want to specifically highlight a number of FREE tools made by independent creators, as well as some lesser-known native features that will seriously level up your game audio workflow and save you valuable time every day.

This article is quite long and I expect you to want to try out some of these tools immediately, so I recommend bookmarking this page (cmd+d / ctrl+d) so you can return to it at any point. There’s also a good chance I’ll be updating this article in the future with other free tools I find along the way!

Note: Some of these scripts will require some 3rd party dependencies and extensions to work. You can download all of them via the buttons below. An added bonus is that ReaPack allows you to search from a vast repository of extensions right within REAPER by clicking on Extensions > ReaPack > Browse Packages. Looking for a specific command or feature you can’t find? Chances are you’ll find it in ReaPack!

Get ReaPack > https://reapack.com/

Get js_ReaScriptAPI > https://forum.cockos.com/showthread.php?t=212174

Get SWS > https://www.sws-extension.org/

 

Quick navigation – click below to jump straight to the highlighted tool/script:

Free REAPER scripts:
Global SamplerLKC Variatornvk_SEARCHMouse Wheel = Item RatePeaks & ValleysRender BlocksStem ManagerUCS ToolkitWwhisperReaOpenProper Nudging


Hidden in Plain Sight – built-in features to speed up your workflow:
Rubber Band LibraryHTML Render StatisticsMonitoring FXMix Knobs EverywhereParallel Effects ChainsFX Containers

Bonus:
Sound libraries from Chris “BØLT“ Bolte(Much!) more about REAPER for game audio and sound design

 

Global Sampler

Capture Everything, Never Lose Anything.

Script by Bird’s Things

We’re starting off with a juggernaut! This script / plug-in is arguably the most famous on this list and one I think no REAPER user should live without. It’s an incredible productivity booster and allows you to play with plug-ins and mangle sounds without every losing any of your happy accidents.

Simply put, Global Sampler records anything and everything you do in REAPER, regardless of whether you hit Play first. It consists of a script that invokes its UI (the waveform view ideally placed at the top of bottom of your window), and a plug-in you can place on your master or listen bus which is responsible for actually sending audio into Global Sampler.

This not only makes resampling a breeze, it also means that you’ll never lose any cool and unique sounds that you may get while browsing plug-in presets, tweaking parameters, or just causing mayhem while mashing your MIDI keyboard.

Global Sampler is always recording everything you do within the DAW. Simply select the desired portion of audio in Global Sampler’s interface and drag it wherever you want.

One of the best workflow accelerators for sound design is to commit real-time processing to audio and continue designing your sounds from there. It will prevent spending too much time tweaking parameters on the hunt for that perfect sound and lets you move forward in a more ruthless and effective way. Global Sampler makes this process as low-friction as possible.



Global Sampler Demo


Global Sampler Demo

Get Global Sampler > https://forum.cockos.com/showthread.php?p=2506514


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LKC Variator

Lightning-Fast Iteration, Variations, and Utter Mayhem.

Script by LKC Tools

In game audio, creating variations of the sound effects you design is critically important if you want to create a realistic soundscape and avoid players getting tired of your sounds. It’s not uncommon to create 10, 20, 30 variations of a sound effect that will be played thousands of times in a game just to avoid any obvious repetition during gameplay.

It can cost a lot of valuable time manually selecting variations of your individual source layers, adjusting pitch offsets, nudging clips around to create slight variances in timing. you get the idea. If you’re on a tight deadline, you’ll want to streamline this process as much as you can.

LKC Variator is an amazingly clever solution that lets you create variations that maintain the original character of your design blazingly fast, while also allowing you to go completely bonkers whenever you feel stuck and just need a bit of unpredictable mayhem to spark your creativity.

Add low values to pitch, position, length, and fade parameters to create subtle variations of your sound. Use more extreme values or try the aptly named Chernobyl button to create completely nuts and unexpected results whenever you feel stuck. This can produce amazing granular-esque textures, strange robotic noises, and many other happy accidents. For an additional degree of chaos, increasing the value for the File parameter will switch out all of the selected items for other random ones contained in your project’s media pool. This could prove interesting in a session dedicated to a specific weapon / character where you just want to throw things at the wall and see what happens.



LKC Variator - Teaser


Get LKC Variator: https://www.lkctools.com/variator


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nvk_SEARCH

Search for Almost Anything.

Script by nvk.tools

As nice as REAPER’s FX browser is, it can get quite clunky when you’re anything like me and have a library of hundreds of plug-ins from different manufacturers. Similarly, if you’re on Windows, there’s no option to easily search all available actions without bringing up the Action List first. Luckily, purveyor of incredible premium scripts, nvk.tools offers an amazing free extension that puts an incredibly powerful search function right into REAPER.

Simply install it and define the shortcut of your choice to launch the search window (CTRL + Space in my case) and search for plug-ins, project files within pre-defined project directories, REAPER-native and 3rd party actions, markers, takes, and much more. You can then drag & drop plug-ins right from the results onto any given track, locate your desired markers, or launch any action you need. Adjustable font size, FX format prioritization, ignoring of duplicates (i.e. only showing the newer format if both VST2 and 3 are available for a given plug-in), synonyms, and more options let you adjust this extension to work exactly how you need it to.

An amazing tool you won’t want to live without!



nvk _SEARCH - Instant Search in Reaper


Get nvk_SEARCH > https://nvktools.gumroad.com/l/nvk_SEARCH


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More from Chris Bolt:

In addition to his sound design work, Chris Bolt also releases sound libraries under his BØLT label – check out some of his releases below:

  • The legendary Synth that brought beloved Droids to Life.

    The all-time classic ARP 2600 was a synthesizer that was an immediate hit with musicians and sound designers when it was released in 1971. Most famously, it’s the very synth that Ben Burtt used to give R2D2 his unmistakeable voice.

    Semi-modular in nature and with many handy features like voltage modifiers, lag control, ring modulation, a comprehensive noise generator, sample & hold, and 3 independent oscillators, it comes equipped with more features than you’ll find in many of today’s analog synthesizers.

    Thanks to the Alan R. Pearlman Foundation and the non-profit studio The Record Co. I was able to access an original, mint condition ARP 2600 that is beautifully maintained and lock myself in a studio with it to capture nearly 7 hours worth of raw sound design material.

    Putting the 2600’s immense sound design potential to use, I created this library to help you give robots a voice, create otherworldly ambiances, score computers with the obligatory “bleep bloops”, and craft larger than life weapons with a distinct retro SciFi flair. I also captured the physical, mechanical sounds of patching cords and moving faders on the synth using a pair of LOM Uši Pro. These sounds are included in a dedicated subfolder.

    Infinitely tweakable Source Material with plenty of ultrasonic Content.

    The resulting sounds range from droid chatter at various root pitches, impacts, drones, noise, and lots of other sonic source that begs to be pitch-shifted and mangled. In fact, the ARP 2600’s pristine analog circuitry and my high-end recording chain capturing it at 192 kHz means that most of the final material features high-frequency content ranging up to nearly 90 kHz!

    This means that you can pitch-shift most of these sounds down by up to 2 octaves and uncover new harmonic content along the way. By recording at 32 Bit with the ultra low-noise Zoom F6 and Rheingold Music cables, these recordings are extremely clean and hold up well to intense processing.

    While highly abstract in nature, these sounds are a great basis for building:

    • Futuristic weapons
    • Retro SciFi spaceship sounds
    • Droid and robot vocals
    • Otherworldly ambiences
    • Drones
    • Wavetable synth patches
    • and more.
    This library features SoundMiner, BWF, Soundly, and UCS metadata.


    Metadata: UCS file naming, SoundMiner, Soundly, BWF

    Recording Specs: 24 Bit / 192 kHz for the majority of files. 96 kHz for files with less ultrasonic content, Stereo and Mono recordings.

    File Format: WAV

    Gear used: Genuine ARP 2600 Model 3620 (1974), LOM Uśi Pro Mics, Zoom F6, Rheingold Music Cables, Radial Pro D2 DI Box

    Processing: Level adjustment, crossfades, spectral noise reduction for recordings using built-in spring reverb.

    ARP 2600: Droids Blips, Drones & more | A Sound Effects Library by BØLT

     

  • Calm Rain for Sound Design and recreational Listening


    For many people, rain is high on their list favorite sounds to relax, study, or sleep to. For how soothing and common of a sound it is, it happens to be one of the most difficult to record – that is, if you want to still be able to use your gear afterwards.

    In early spring of 2023, a little rain recording experiment on the fire escape leading to my somewhat sheltered backyard revealed that little to no city noise would actually make it onto the recording. Surprised by how clean these recordings came out, and by how wet of a summer we’ve been having this year, I proceeded to record in the backyard of my apartment almost every time it rained.

    Over a period of 6 months, I recorded hundreds of gigabytes of rain and ultimately narrowed it down to the 3 hours contained in this library. If you are looking for rain recordings that are clean and work well for layering while still clearly anchoring your soundscape in suburban spaces, this is the library for you! Also included are two long thunderstorms that can be heard moving into the distance.

    These recordings contain no distinct car sounds, people, or sirens, and have been minimally processed to make them flexible for use in films, games, and video productions.

    As an added bonus, this library contains immersive, Ambisonic (AmbiX) recordings of rain captured from the inside of a tin shed. To convert these recordings to binaural or surround formats I recommend downloaded the free SoundField by RØDE plug-in.

    Library Specs


    Total number of Files: 19

    Total Duration: 3hrs 2min 33sec

    Metadata: UCS file naming, SoundMiner, Soundly, BWF

    Recording Specs: 24 Bit / 96 kHz

    Channel Formats: Stereo, AmbiX (Ambisonics B-Format)

    File Format: WAV

    Size: 7.3 GB

    Gear used: LOM Uši Pro Mics, RØDE NT-SF1 Ambisonic Mic, Zoom F3, Zoom F6, Zoom H1n

    Processing: Level adjustment, Crossfades, Low-Shelf Filtering where necessary.

  • If your Soundscape needs some gentle, flowing Water, look no further.


    When my wife and I were taking a little vacation in the woods of Hardwick, Vermont, I was awestruck by just the utter absence of any anthropogenic noise around us. Whenever there was a car coming through, you’d hear it from miles away, and, with it being late November, there were no bird calls for the majority of the time.

    In a small patch of forest near Nichols Pond lies a network of creeks and water runoffs that are ideal for capturing undisturbed, serene sounds of water flowing. Stable temperatures meant that there was very consistent snow melt and the flow of the water stayed steady throughout many hours of recording.

    As a result, this single-purpose library contains long-form recordings of these creeks that will excel wherever the sounds of water flowing are desired with not even the slightest hint of looping. With the exception of two babbling brooks captured in stereo during a hike, all recordings are 10 minutes long and captured in AmbiX (Ambisonic B-Format) for the greatest possible flexibility when it comes to placing them in a virtual environment.

    These recordings are free of edits and include stereo versions for dragging and dropping without the need for Ambisonic decoding. As a special treat, three long-form recordings are also accompanied by a Geofón track that captures the vibrations caused by the water in the nearby soil.

     

    Recording Specs: 24 Bit / 96 kHz AmbiX & Stereo. 48 kHz Mono Geofón Recordings

    Channel Formats: AmbiX (Ambisonic B-Format), Stereo, Mono

    File Format: WAV

    Size: 4.6 GB Stereo & Geofón, 8.3 GB AmbiX, 12.8 GB total

    Gear used: RØDE NT-SF1 Ambisonic Mic, LOM Geofón, LOM Uši Pro, Zoom F6, Zoom F3

    Processing: Level adjustment, Fade Ins/Outs, AmbiX to Stereo Conversion (perspective-optimized)

  • Experience the Sounds of Victoria Falls, Zimbabwe at the End of Winter

    Every now and then an opportunity comes along that you just cannot pass up. The chance of going on a recording trip to Zimbabwe alongside someone who knows the area and many locals was exactly that.

    I traveled to Victoria Falls, Zimbabwe in August of 2023. As the dry season and the coldest time of year was still in full swing, the land is dry, and animals travel long distances to reach watering holes and rivers to drink. With the trees dried out and few insects in sight, the soundscape across the steppes is eerily quiet day and night, save for the large number of helicopters flying tourists around during the day.

    Not only was it an utterly inspiring experience just taking in the beauty of nature and the warm spirits of the people I have met, it was also an exercise in navigating the challenges of anthropogenic noise becoming more prevalent around the globe. With this time of year being the height of tourism season, capturing the sounds of nature meant having to find pockets of silence to avoid the sounds of helicopters, safari trucks, and trains carrying coal.

    By resorting to drop rigs, overnight recording, and getting up before sunrise to record, I captured a wide range of birds, mammals, and ambiences that will let you recreate the soundscapes of this vivid nation in your projects. Of course, I also had to capture the incredible majestic power of Victoria Falls’ namesake waterfalls, both in stereo and Ambisonic format.

    A portion of the sales proceeds for this library will be donated to local conservation efforts including Painted Dog RescueAfrican Wildlife Foundation, as well as CARE‘s efforts in providing food and nutrition security, climate resilient livelihoods, economic development, education, and water.

    Read my Article about the Trip here!

    Recording the Sounds of Zimbabwe | A Sound Effects Library by BØLT
Get more sound libraries from BØLT here

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Mouse Wheel = Item Rate

Varispeed Like a Boss.

Script by Lewis Haines

If you’re anything like me, the first thing you’ll do with any sound recording after importing it into your design session is to pitch & slow it down. However, time spent turning off “Preserve pitch when changing rate” in the properties panel for each item can accumulate quickly. This little script will save you valuable time!

Once you installed it, simply pull up your action list and associate the “MouseWheelItemRate” action with a shortcut that involves your mouse wheel. I personally set it as Alt + Mouse Wheel. This made the most sense to me as Alt + Dragging the edge of a clip will perform regular time stretching, allowing me to quickly invoke both artifacty stretching (with the built-in algorithms), as well as varispeed without having to pull up the Item Properties panel.

Get Mouse Wheel = Item Rate > https://lhainesaudio.gumroad.com/l/MousewheelItemRate


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Peaks & Valleys

Strip Silence and Align Transients of Items Vertically.

Script by Kusa

On first glance, this script doesn’t seem all too different from the Dynamic Split option that ships with vanilla REAPER, but it goes a little further in ways you might find handy for sound design and dialogue editing.

It’s a seriously efficient way of trimming off silence at the end of clips, cutting up “sausage files” of sound effects, or cutting out the silent parts of a vocal performance.

Its interface couldn’t be simpler. Threshold sets the level below which portions of the item will be cut, and Minimum Duration specifies the shortest possible gap it will allow for, avoiding overly erratic cutting.

Clicking Takes (Peak) will split all resulting clips into separate takes on the same track with their transient peaks precisely aligned. Takes (Start) will align the takes based on their item start point. The peak alignment function specifically comes in handy when working with certain variator scripts (like NVK). Those can automatically cycle through takes for each variation.

Split and Space Items lets you specify by which time interval the resulting items should be split, and simply clicking Split will leave everything in place, simply cutting out the parts that fall below the dB threshold.



ReaScript - Peaks and Valleys


Can be found through ReaPack > https://forum.cockos.com/showthread.php?t=286625


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Render Blocks

Automate Asset Export and Streamline File Naming.

Script by LKC Tools

As daunting as it might sound when you’re starting out, your workflow will benefit hugely from automating a lot of the very repetitive steps involved in sound design. In fact, REAPER’s open-endedness for automation and scripting is precisely one of the many reasons why it has seen a meteoric rise to becoming the industry standard in game audio.

Render Blocks by LKC is a tool that sped up my workflow by an incredible amount because it lets me set up my asset naming and exporting regimes early on in the process and allows me to stay “in the flow” while designing sound effects, resting assured that everything will go in the right place and have the right file name by the time I hit the Render button.

To illustrate how awesome this plug-in is, I’ll explain the example pictured in this GIF straight from the LKC website.

Picture this… You’re designing attack sound effects for a zombie enemy. You create a folder track named Zombie to house the different kind SFX, and create subfolders named Attack and Hit.

In the process, you design “Attack” and “Hit” sounds for a “Short” attack that can either be “Slimey” or “Crunchy”. For organizational purposes, you create a “Short” region to house everything, denoting that both attacks fall into that category; then, you create “Slimey” and “Crunchy” regions within it to make the two attack types easy to find once your project grows.

By selecting everything and running the Render Blocks: Pack command, the selected items intelligently get wrapped into Render Blocks.

Next, by running the AutoName command, it will automatically name the new blocks in the following scheme:
ParentFolder_Subfolder_ParentRegion_ChildRegion

The resulting names will be:
“Zombie_Attack_Short_Slimey” and
“Zombie_Attack_Short_Crunchy”

Finally, when you’re done designing for the day or want to export your creations just far, simply invoking the Render Blocks: Render action will export all of the blocks contained within your time selection as audio files according to your current render settings.

I can’t emphasize enough how much time this script has saved me. Go ahead and grab it! Note: The free version of Render Blocks lets you export up to 10 blocks at once but doesn’t set a limit on how many you can have within your project. The paid versions remove this limitation and offer you a couple more in-depth settings.

The concepts of Render Blocks are expanded even further in LKC’s Grim Sync, a full-on REAPER to Wwise integration platform which allows you to directly interact with your Wwise projects from within REAPER. You can even create containers and folder structures right within the DAW to then reflect in your Wwise project automatically. While technically free, the premium version unlocks all its features and is thus, not part of this article.

Get Render Blocks > https://www.lkctools.com/renderblocks


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Stem Manager

Deliver Stems and Alternative Mixes Quickly and Reliably.

Script by Oded Davidof

Exporting stems from a big session, regardless of whether it’s an entire mix for a short film or a musical cue for a game project, can be incredibly tedious. With busses and auxiliary sends to consider, things to mute and un-mute correctly, buss processing to bypass… it leaves a lot of room for error and it’s easy to make mistakes that you won’t notice until you’ve fully played back each and every stem after exporting.

Stem Manager is a straight up life-changing REAPER script that puts you in control of rendering all your stems in one go while allowing you to control exactly what does and doesn’t get rendered. Its GUI features a matrix that lets you easily create a new stem for export and decide exactly which tracks or folders should be included while also offering comprehensive naming tools to add important denominators like BPM, key, custom suffixes or prefixes, and more.

This extension pairs especially well with SWS, because it allows you to perform specific actions before and after rendering, one of the most important ones being the ability to bypass all master bus FX prior to your bounce.

One important note is that it requires a Render Preset to specify your desired encoding settings, so make sure to first open the Render to File window, specify your desired encoding settings, and save it as a preset before trying to export your stems.

The way it works is through the matrix window shown below. Top to bottom are your tracks, left to right marks the custom stems you can create. By default, the horizontal axis will be empty until you click the + button, creating a new stem in the process. From here, simply click the tracks in the grid that you want to include in said stem. Rinse and repeat until you have everything covered. The way the script will then render everything is by literally soloing the desired tracks and busses for each stem selection, making it incredibly reliable as it doesn’t use any proprietary code to perform the actual render process.

Get Stem Manager > https://forum.cockos.com/showthread.php?t=268512


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Popular on A Sound Effect right now - article continues below:


Trending right now:

  • 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.

    50 %
    OFF
    Ends 1718575199
  • 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.”

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    OFF
    Ends 1718488799
  • Electricity Sound Effects A Fluorescent Bulb II Play Track 12+ sounds included, 37 mins total $25

    This library is a continuation of my first library A Fluorescent Bulb. This contains 6 more fluorescent light hums/buzzes with nice plinks and warming sounds. For each light there is at least 2 minutes up to 5 minutes of tone, and a second file with a manipulated light switch where you get multiple plinks and buzzes. The tone of this library is a bit higher pitch than the first 6 bulbs from the first library

    29 %
    OFF
  • Rolling Objects, the next step of our Materials & Textures SFX series, is a diverse collection of 270 HQ sounds which covers a wide range of objects rolling on various surfaces.

    The possibilities you have with this library are genuinely endless. You can cover anything from vehicle sound design to landslides and giant boulders to more innovative concepts like drone textures and sci-fi mechanical movements.

    Some of the most exciting elements included are large metallic pipes rolling on concrete, tree logs and gravel sloping downwards, a Chinese meditation ball slipping from an aluminum rail, a metal barrel moving on various surfaces, various kid toys rolling on wooden surfaces.


Latest releases:

  • 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.

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  • 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.

SUPERDEALS - don't miss these:

  • Coll Anderson ‘s famed Battle Crowds library is the world’s largest collection of battle crowd sound effects, covering huge crowds as they’re deep in battle, celebrating and cheering, screaming, yelling, protesting, begging, crying and much more, as well as troop movements and marching through fields, forests, and around buildings, individual call-outs, marching and more. If you’re looking for the ultimate collection of battle crowd sounds for huge clashes, civil unrest and protests, or smaller skirmishes – captured from multiple perspectives – this is it!

    This special version brings you both the Battle Crowds Core and Add-On libraries in one powerful bundle.

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  • Ambisonic Sound Effects Room Tone Play Track 60 sounds included, 311 mins total From: $109 From: $79

    Sound Tailor Effects Library enters the void with its 3rd release:

    60 sounds, 5+ hours of rich and deep room tones, with a variety of sizes and environments that will cover most of sound editors needs. From a quiet residential bedroom to an reverberant inactive hospital hall, a ventilated office space, or a noisy basement, we carefully chose the right place at the right time, to get the best from those empty spaces.

    We’ve recorded with a combination of 7 low noise microphones, 1 ambisonic microphone and 1 geophone, dispatched on a wide rig, to get the best spatial impression, allowing us to deliver a true 7.1.2 format, plus ambisonic, 5.1 and 2.1 versions. The sub channel, provided by the geophone and its low frequency response, has been a shocking surprise for us, and is a real colorful and creative addition.

    You can choose between several spatial format combinations, to suit your needs. All versions includes a stereo mixdown, and all files are loopable.

    Sound Tailor’s Room Tones is UCS compliant, and delivered in high resolution 96kHz/24 Bits.

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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.”

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  • 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.


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Need specific sound effects? Try a search below:


 

UCS Toolkit

Designing Sounds for Later Use? UCS Naming Will Make Them Easy to Find.

Script by Tadej Supukovic

As you grow your personal SFX (or sample) library, accurate metadata and searchable file names become increasingly important. The Universal Category System has been established in a collaborative effort between sound industry professionals to create a set of categories and subcategories that could describe pretty much any sound effect in existence. In its most basic form, it is an intuitive file naming scheme which most popular sound library management apps will recognize automatically, making it much easier to find very specific SFX in your library.

The one caveat, of course, is remembering all the different category and subcategory IDs while naming files. This handy script makes it easy, to properly name your SFX right inside of REAPER!

UCS Toolkit allows you to rename tracks and items using the UCS naming scheme while also supporting the incredibly handy Wildcards feature, letting you pull part of the filename from variables like $item, $region, or $marker. This is handy, for example, if you have already labeled your marker with what you want a sound effect to be called. Just insert $region in the FXName field and it will auto-populate.

By the way, looking for the best free SFX Library Manager App? Check out this article!

Get UCS Toolkit > https://forums.cockos.com/showthread.php?t=286234


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Wwhisper

Supercharge Your Implementation Practice Routine.

Script by Kusa

This one is for those among you who want to practice audio implementation in WWISE and either have exhausted the demo project avenue or just want to reverse engineer the audio systems behind the sound of certain game sequences. Wwhisper essentially enables REAPER to send game calls directly to Wwise as if it was an actual game engine project!

Through markers, regions, and the two included JSFX plug-ins, you can input triggers within REAPER and then have them call audio events and modulate parameters within your Wwise project.

This allows you to do many different things:

  • Create sound re-designs of game captures in a systematic way more akin to actual implementation rather than laying them out in your DAW in a linear fashion.
  • Practice game audio implementation without a connected game engine.
  • Create procedural music compositions in WWISE and lay out triggers and parameter changes in your REAPER timeline.
  • Create a test-environment for Wwise projects you’re working on. Especially handy when working on a game before the engine project even exists.
  • Automate your testing process for assets by simulating gameplay.
  • Capture a gameplay sequence in the Wwise profiler and export it to Wwhisper to re-play a sequence indefinitely and tweak as you go.

If you’re an intermediate to advanced sound designer looking to get your implementation chops up to speed, this is one of the best ways to do it!



ReaScript - Wwhisper


Get Wwhisper > https://github.com/TFKusa/kusa_reascripts/blob/master/Documentation/WWHISPER%20-%20DOCUMENTATION.md


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ReaOpen

Need to Tweak SFX or Music During Implementation? This is the Way.

Script by LKC Tools

Are you finding yourself implementing your audio assets in Wwise or FMOD and realize you need to make some last-minute changes? ReaOpen is a killer script that allows you to open the REAPER project pertaining to your sound effects (or music tracks) right from your middleware and even your file explorer!

All that’s required in your rendering process is checking the “Include project file name in BWF data” option which will provide the information necessary for ReaOpen to be able to locate your project.

After installing the REAPER extension, you’ll have to install the native tool for your operating system which makes it available to select as an external editor for Wwise, FMOD, and within other DAWs. Then, with some quick manual setup, you can also add it as an option to your context menu on Windows, allowing you to open the original project for any audio file you exported out of REAPER right from the File Explorer.

If you like creating different (sub)projects for individual sound design elements of your project then this tool is an incredible workflow accelerator if you find yourself needing to make changes on the fly, add some more variations, or tweak your processing chain a little.

TL;DR: ReaOpen allows you to open the original REAPER project at the precise location a sound was exported from straight from your file explorer, middleware, or other DAWs.



How to use ReaOpen with Wwise and FMOD (Free REAPER Script)


Get ReaOpen > https://www.lkctools.com/reaopen
 


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Proper Nudging

Create This Custom Action to Make Syncing to Picture Less of a Pain.

Nudging is an indispensable tool when trying to sync sound effects to picture. Being able to move your play head and items one frame at a time makes this a lot easier than clicking and dragging until you hit the spot. The problem with nudging in REAPER is that it doesn’t move the play cursor with the item, thus not letting you get a sense of your sync to video.

By setting up these simple actions, you can nudge backwards and forwards with your play cursor (or play head) following suit, allowing you to sync items to video much more precisely than with REAPER’s native nudge feature.

First, press the key or go to Edit > Nudge/Set Items to open the nudge settings window.

Here, click the last dropdown on the right and select Frames as your unit of time. You can now close the dialogue and open the Action List by pressing “?” or clicking Actions > Show action list.

In the Action List, click New Action and create two new ones according to the settings below. The way to find the two actions necessary for Nudge + and Nudge – are shown below and can be found if the action list shown on the left of the Custom Action window.

You can then add any shortcut you like to these two actions to make them easily accessible, for example, the left and right arrow keys. I personally have mapped them to the dial on my macro pad, letting me smoothly nudge items by simply turning it left or right.
 


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Hidden in Plain Sight

Lesser known REAPER Features to Up Your Game (Audio)

These tools already ship with every version of REAPER but are not necessarily the easiest to find. Check out some of my favorite semi-hidden features and learn how they can help make your creative process faster and more productive:


 

Rubber Band Library & Rrrreeeaaaa [Slowed+Reverb]

Stretch Sounds Into Oblivion and Discover new Possibilities.

Want to turn a song into a giant ambient pad? Turn almost anything into a drone? Create awesome transitions and glitchy Sci-Fi ambiences? These two time stretching algorithms that ship natively with REAPER are insanely useful sound design tools.

While algorithms like Elastique Pro 3 are best for musical applications like correcting timing on drums or aligning vocal stacks, they quickly fall apart when you start to really stretch out clips further than a couple 8th notes. Their intention was to sound musical in a musical context.

What we want to do is discover new sonic flavors within material that we record or source from our libraries and manipulate these sounds to bring virtual worlds to life.

Rrrreeeaaaa is the youngest of REAPER’s time stretching algorithms and has been added in 2023. Its main purpose is to completely transform sounds through time compression and expansion in ways that are anything but clean. It’s sonically similar to the renowned PaulXStretch plug-in albeit much easier to use. When stretching items to an extreme degree, Rrreeeaaa sounds deliciously lush, verby, and otherworldly in ways that make it incredibly handy for creating weird drones, spooky ambiences, and extract tonal material from not very tonal sources. Since it uses a resynthesis method that goes way over my head, there will never be noticeable choppiness or graininess, no matter how far you stretch your clips.

Rubber Band Library is a far more artifact-rich algorithm but has a ton of flexibility under the Mode dropdown that lets you pick your desired flavor of digital stretching artifacts. It’s an amazing algorithm for glitchy textures, weird technology-related sounds, and for times where you want to make something sound like it has been compressed very badly.



RRREEEAAA & Rubber Band Library Time Stretching Demo for Sound Design


 


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HTML Render Statistics

Keep Track of Your Loudness over Time With Each Bounce.

The higher the stakes for your project, the more important loudness compliance will be. Especially in projects where you end up creating hundreds and thousands of assets it will make everyone’s lives a lot easier if they are all being delivered at consistent, agreed-upon loudness levels. This is crucial at the implementation stage, where you or your technical sound designer / audio programmer shouldn’t have to spend extra time adjusting the mix just because an asset has been revised.

REAPER’s render statistics are yet another incredible feature that should be the standard everywhere. With each bounce, you can have REAPER create corresponding statistics that include :

  • Integrated Loudness / LUFS- I (total dB LUFS value over entire duration)
  • Momentary Loudness / LUFS-M (dB LUFS value over .4 seconds, averaged over entire duration)
  • Short-Term Loudness / LUFS-S (dB LUFS value over a 3 second period, averaged over entire duration)

When hovering over the waveform, you’ll also be able to see momentary and short-term loudness at any given point of the file. And the best thing yet, you can even show your markers and regions, incredibly handy when inspecting a final mix of any piece of longer-form content (think a cinematic or musical cue).

To export stats alongside your file, simply check “save outfile render_stats.html” in the render window. This can also be done in a dry run if you just want to see how your mix is doing at the moment. For that, simply click the “Dry run (no output)” button and you will just receive your handy statistics file.


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Monitoring FX for Tools, Metering and more.

Speed up Bouncing, De-Clutter Your Master Bus Signal Chain, Avoid Accidents.

We all love our metering plug-ins, room correction, and, of course, Global Sampler… However, adding all these on your master bus can clutter up your FX chain pretty quickly, especially when you’re also using various plug-ins for saturation, buss compression, tape emulation, etc.

Worse still, if you’re using room correction plug-ins like SoundID Reference, you might end up forgetting to bypass the plug-in before, resulting in a track that has your room correction curve and attenuation applied – sounding very weird as a result.

This is why I think REAPER’s dedicated Monitor FX chain is one of its biggest “why doesn’t every DAW have this?!” features.

Essentially, it’s just a dedicated FX chain that sits after the master bus and receives all audio that is output by the DAW – click included. Plug-ins added here will not be processed during a bounce, which can help speed up the render process slightly, too.

It’s a great place to insert your loudness meter, spectrum analyzer, the Global Sampler plug-in, your speaker/room correction suite, or any other tools you don’t want affecting your final render.

Top open the signal chain, simply click View > Monitoring FX in the menu bar.


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Mix Knobs Everywhere!

Use Any Plug-In for Parallel Processing.

Want a weapon to have both a strong attack transient and a fat sounding tail? Want to distort a sound heavily but still maintain bottom-end and high-end clarity? Parallel processing might be the answer you seek.

To put it simply, parallel processing means to blend a processed signal with the unprocessed version of that very same signal. By far the most common application for this is parallel compression, where you’d mix the dry signal with the compressed one in order to maintain overall punchiness and definition while significantly beefing up your source material.

In the “olden days”, this method of processing would have to be achieved by sending your clean signal – pre-fader – to an Auxiliary Bus with the desired effect in its signal chain and using the two tracks’ volume faders to control the blend.

In recent years, a lot more plug-ins have started featuring integrated mix knobs to allow this kind of processing without any need for routing. However, this feature is still not commonplace enough and some of the best plug-ins on the market still lack this functionality.

The per-effect mix knob is a feature that is (as far as I’m aware) unique to REAPER and allows you to use any plug-in in parallel with your track’s clean signal. Dial in your effect and play with this knob until you achieve your desired blend. It couldn’t be easier and it’s truly a feature every DAW should have!


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New: Parallel Effects Chains

Split your FX Chains In-Line and Without Routing

This new feature takes parallel processing up a notch and lets you not only run plug-ins in parallel to your clean signal, it allows you to split your signal chain into separate chains of plug-ins that can run in parallel.

This opens up tons of possibilities for sound design and mixing that would’ve previously required tedious routing. For example, you could process your sound with reverb and delay independently or blend different modulation effects by creating a parallel processing branch.

To do so, simply right click the plug-in before which you want to split your signal chain and click Run selected FX in parallel with previous FX. Done.

This can even be used alongside the next feature, making for seriously deep FX routing possibilities without even using any any AUX busses.

Review the guide What’s new in REAPER Version 7 for more info.



Parallel FX inside the fx chain in REAPER 7 #reaperdaw



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New: FX Containers

Build and Recall FX Chains Within a Single Insert Slot.

FX Containers are somewhat similar to Effect Racks in Ableton Live, allowing you to store entire signal chains within a single container for quick recall and more flexible routing. However, this feature is a little more involved in REAPER and also offers some additional routing functionality for parallel processing.

When adding an FX container, you can give it any number of inputs, theoretically allowing for near infinite parallel processing options within a single FX chain component. In the picture below, you see the track’s FX chain window with the Container plug-in selected. This will bring up a second FX chain to the right of the track’s FX list, showing all the plug-ins contained within the Container.

These combinations of plug-ins can of course be saved as presets, letting you more easily combine several chains of plug-ins.



What's New in REAPER 7 - Part 2 - FX Containers & Parallel Routing



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A big thanks to Chris “BØLT” Bolte for these REAPER tips, and for letting us share his guide! Find his sound libraries 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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  • Electricity Sound Effects A Fluorescent Bulb II Play Track 12+ sounds included, 37 mins total $25

    This library is a continuation of my first library A Fluorescent Bulb. This contains 6 more fluorescent light hums/buzzes with nice plinks and warming sounds. For each light there is at least 2 minutes up to 5 minutes of tone, and a second file with a manipulated light switch where you get multiple plinks and buzzes. The tone of this library is a bit higher pitch than the first 6 bulbs from the first library

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  • Game Audio Packs Mobile Game Play Track 578 sounds included, 30 mins total $42

    Inspired by app market hits like Clash of Clans and Candy Crush, we present to you Mobile Game – a truly fun and genuinely gameplay inspired sound effects library. Filled with a thorough selection of popular game ready audio assets, Mobile Game gives you sounds that you can quickly implement inside any game to give it a familiar “hit app” game feel.

    • Includes 578 files
    • All files in .Wav 96k 24bit
    • Plus game ready mp3 files
    • Inspired by today’s best App Games
    • Includes Soundminer metadata
    • 891.9 MB of samples

    Mobile Game features sounds such as:

    Bubbles • Building • Coins • Crafting • Mechanisms and Contraptions • Musical Stabs • Objective Completes • Pick Ups • Potions • Tonal Designed Organic fx • UI/Menu • Upgrades

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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.

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  • 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.


   

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