Archives for May 2019

Reaper Effects: How To Add Effects To Audio In Reaper

May 23, 2019 by Ken Leave a Comment

Here is how to apply Reaper effects to an entire track of audio.

Reaper is my favorite digital audio workstation (DAW). I use it for all kinds of recording from music to voiceover. But no matter how you use Reaper to record and edit audio, you need to understand how to apply effects.

What is an effect?

An effect is a way to change audio for some reason. Reaper effects are applied using the shortcut moniker “FX.” So in case you were in any doubt, FX and effects are the same thing.

Some examples of common effects include EQ (equalization), compression, reverb, and noise reduction. But there are literally hundreds of effects available in Reaper.

Even virtual instruments are considered effects in Reaper. As with all Reaper effects, you apply them to a track by clicking the “FX” button on the track control panel. See pic 1.

Adding an effect

You normally add effects to the complete track. So all the audio items (you can have many different items on a single track) receive the effect. To add an effect:

Click on that “FX” button on the track control panel (track header) on the left side of the track. That will open the list of available effects.
Choose the category of effect you want from the left panel (VST, AU, instruments, etc.). Or just click “All Effects” to see everything available, which you will see in the right panel. See pic 2.
Select an effect and click “OK” in the bottom of the effect window.
That effect will now be applied to your track.
Click on the FX track button any time to edit the settings of your effect.

See video below for how to apply an effect in Reaper.

Render the result to “print” the effect to the audio

DAWs use “non-destructive” editing. That means that the underlying audio file will not be changed no matter how many effects you add to the track. This means that you can turn the effect on and off at any time in Reaper. Just click on the FX button to turn the effect off. The button will turn red to indicate that you are NOT hearing the effect on your audio. This is handy for hearing how the effect sounds compared to the raw audio.

But if you want the final audio to have the effect applied permanently (usually called “printing” the effect), you need to render the audio.

So when you’re happy with how the effect is making your audio sound, just go to File/Render. There you’ll be able to save your audio as a wav, mp3, or other audio file type. Then just render it to a folder on your computer, and you’ll have a final, payable audio file to share.

Is there more?

Yes, there is much more great stuff on how to use Reaper effects. I’m making this a short series. The next post is how to use FX on small audio sections on a track, rather that applying the effect to ALL the audio. You can find that post here: Adding An Effect To Just Part Of An Audio Track In Reaper

Review – Steinberg AXR4

May 23, 2019 by Jake Weston Leave a Comment

The author states that at the winter NAMM he was given an opportunity to glance at the AXR4 and it seemed exciting to him that one day he would be given the opportunity to play with it. Presently, there is an AXR4 at the hub of his studio and he has decided to have a go at it and then expand his impressions of this equipment that is the newest audio interface from Steinberg. The author states that the main focus of the AXE4 is audio quality and the interface makes no doubt about it when one uses it. The sample rate for recording is up to 384kHz and it can do processing of audio up to a depth of 32 bits. The AXR4 has its own variety of Cubase which is an AI variant and the Cubase is a feature that maximizes the integration between an interface and the software that is underlying. Despite this, the equipment works with all audio interface workstation that you try it on. A hybrid in the AXR is the mic preamps which can also be found in Yamaha’s digital mixing consoles. Rupert Neve designs also implemented a silk circuit in it that consists of 2 different modes from which emulation can be performed.

Key Takeaways:

The Steinberg AXR4 audio interface has a lot of specs, with AXR hybrid mic preamps, silk emulation with two modes, and Thunderbolt 2 to keep latency low.
The preamps and the silk emulation sound great, with plenty of detail that resemble a high end rack unit.
The AXR4 is easy to use, with easy to understand companion software and a highly configurable interface.

“The interface can record up to a 384kHz sample rate, and process audio at a depth of up to 32 bits.”

Loopmasters KHORDS Review

May 22, 2019 by Elaine Sy Leave a Comment

KHORDS is a sample-based virtual instrument powered by Loopmasters and sold exclusively at Pluginboutique. This virtual instrument is easy to use as Bass Master but with a much broader sonic palette.

KHORDS has the finest sampler presets which makes it easier to come up with a lot of musical ideas. It contains a lot of musically rich and evolving sounds making it a powerful sample-based instrument. The sound designers did an amazing job on the factory patches for KHORDS. All the patches sounded like it could be used as the main element of a track.

Review: Studio Orchestra Series by Spitfire Audio

May 21, 2019 by Elaine Sy Leave a Comment

Spitfire Audio recently released Studio Woodwinds Professional library. Therefore, the Studio Orchestra Series is now complete and includes Studio Strings Professional and Studio Brass Professional. The series was recorded by multiple Grammy-winning engineer, Simon Rhodes at Air Studio One.

The Core and the Professional are the two collections available. It now has more instrument and microphone options which includes “close, tree, outrigger, and ambient mics, or any combination, with two expert mixes from Simon Rhodes.” The Studio Orchestra Series would embark you on a journey of exploring a great collection of perfectly recorded, untouched raw materials that would unveil your imagination as a composer.

Illuminating The Dark Art: A Practical Step-By-Step Guide To Success With Wireless/RF – ProSoundWeb

May 21, 2019 by Jake Weston Leave a Comment

There is a stigma about the complicated nature of the use of wireless microphones and their radio frequencies, but they are fun to use once you know the basics. Primarily, only use RF when there are no other options. Check the requirements of the venue as it pertains to the frequencies or bands permitted. Always have the correct tools on hand, just because a transmitter and receiver can pick each other up does not mean they are compatible. Compression and expansion, also known as compansion, correctness is critical. Other important devices include a handheld scanner and an antenna combiner. With all of the sound variables that can come up in a system, it is important to have the correct settings on your devices.

Key Takeaways:

When one goes to shows and festivals that seem somewhat complex there is usually an RF technician that is managing things at the background.
The author states that he is not an RF boffin but he has 20 years of experience in the field and wants to share some useful advice.
He states that while on the stage some performers or band members have the need to be very mobile so the microphone used for them is a wireless monitor.

“While RF often gets referred to as a “dark art,” in truth it’s a science which, approached systematically, can actually be quite enjoyable in a nerdy kind of way!”