Reaper DAW 101 Part 2:- Inbuilt Effects

hi everybody Adam Steele from hot Pole Studios here you may have seen our basics tutorial of how to use Reaper from the very beginning if you haven't go and check that out if you're looking to use the very basics of a digital audio workstation today we're going to expand on that a little bit and start to talk about the inbuilt effect that Reaper has what they do how to use them [Applause] [Music] so today as always I have my basic laptop in front of me one the old Lenovo ThinkPad I've got my audience sano interface plugged in and ready to go the scary studio computer behind me which isn't really to do with what we're doing today and I've loaded up a project which I recorded earlier this week it's not finished and it's quite basic which is quite helped fight with what we're going to do today and we've got some drums recorded and a few guitars and as files were going to talk about today that's it nice and simple what we're going to do is look through what Reaper has in terms of its inbuilt effects and we're going to try and use some of these in particular context so that you can actually see them being used where they're supposed to be used I've got a little list here in front of you because my memories shocking so the first thing we're going to do is play you back a little bit of what we have [Music] [Applause] [Music] okay so those guitars were recorded for use with testing out a video project that had and they are in order one set of drums which is a stereo file let's also saw the two rhythm guitars and we also have the lead guitar and later on I recorded a little bit of vocal just one two three and that's just something so that we can play around with it get some compression and EQ and all that clever stuff going without flagging up any copyright by using somebody's song that's already got all that kind of legal mumbo-jumbo going on so for today's purposes in this video that's what we've got to work with so let's see how far we can get the first thing I'm going to talk about today is compression Reaper has inbuilt compressors it has two of them inbuilt so we're going to start with talking about the most basic one which is recom and then we're going to talk about the more clever one which is re x comp so let's look at the drums first for this because these drums they're one of those kind of like ez drummer e type drum kits I think it was actually the Steven slate drums I used but that's by the by so this is just a nice simple little loop [Music] so let's bring up our mixer window which is the shortcut ctrl M there but you can go to view mixer we're going to use the mixer quite a lot for effects you can see them come up here there's inserts and sends as we briefly mentioned in the basics video in the next video after this one we're going to talk about really clever and complicated routing of inserts and sends and all that kind of stuff but for now we'll just kind of gloss over that and use the basics in this case we're going to use every effect for the next little while as an insert just to make things simple so if we find where our effect button is on the drums and open that up it gives us a list of every plugin that we have and we want to find our ecomp which is under VST and then we comp double click that to bring it up so if we hit play we can see those meters going but the compressor isn't doing anything if you're not particularly familiar with what compressors do they tend to keep a sound that's kind of unruly and has these big spikes they tend to keep it all kind of in one zone so that it's not going to get too loud at any particular point that's the general idea of a compressor there are some clever things you can do with compressors but that's the basic idea I'm not going to go too deep into what the compressor is or what any Q is or anything like that in this video that's probably the kind of thing you should look another video for and hopefully I'll do videos about that in another series so recom we can see when we hit play this meter is moving that's just the output level over here nothing is happening because nothing is going below our threshold even before we use the threshold we need to turn the ratio on our compressor up to do something so let's say 3 2 1 which means above this threshold any three-to-one ratio means if you've got a jump of 3 dB it'll be squashed down to 1 dB so you'll still get some extra volume but just not lots of extra volume so an 18 to 1 compressor if you had an 18 DB spike it would crush that down to just 1 and so on and so forth that's kind of how that works so without changing anything else I'm gonna hit play and still nothing happens so what we want to do now is hit play so we can hear it and gradually bring the threshold down until something happens [Music] and now you can hear that really sounds quite squashed and squished and we can see this red meter over here is showing us as it dips it's showing you how much compression is actually happening if I do that again you can see here the - sit so then we've got all these controls so we can do things like I personally like the release to be a smaller number faster which means they said that kind of sound you get after the compressor kicks in it kind of lifts that a little and I don't tend to go for specific numbers I do tend to just use my intuition and use my ears there what I'm listening for is not having that thing and then with the attack we I tend to like especially on drums having more attack because that leaves that that crack of the drum before everything gets controlled so what I'll do here is I'll hit play and extend the attack out so that sounds like a nice punchy controlled set of drums now at the top here there is a little tick box in the top right now that's a nice little shortcut to turn the entire plug-in on and off that's always there in Reaper on any plug-in whether it's one that comes with Reaper or a separate one on this top bar that tick box turns the whole thing off [Music] so we can hear because it's being compressed it's kind of taking away some of the volume that's that is very much what a compressor does so then with the wet output which is the amount of that signal that's being compressed I'm going to turn it up a little bit and then try turning everything off and on again until they sound like they're roughly the same volume there we go so as a result the the hits that they're boom-boom yeah a roughly the same level that they were originally but everything in between has kind of come up in level because we've pushed the volume so that character comes out to me that sounds like a really good drum kit with lots of life in the sound now just from using recom so let's move on let's turn that off that little tick box either on the name of the plug-in or on the right hand side over here like we sit and now we can double click in here and add our e^x comp X for extreme no it's not very extreme at all the X comp is it's X because it's got a cross over it is a multiband compressor which means that the bass is compressed separately the low-mid is compressed separately the high mid and the top-end can all be compressed or not compressed separately depending on your preferences which means this is really clever you can use this for several different applications either you can use this if we go into the presets here it's much quicker I find with something like Reax comp to go into the preset list at the top and find something because it's so infinitely configurable it will take you all day to get through all the settings so I tend to find a preset and then go from there because it saves me a lot of time let's go for mastering 3-band electro and hit play okay so that's not doing very much to the signal much like recom wasn't doing anything until we brought those thresholds down but we can see one two three and this one's a little bit more visual as well so if I drag these down you can see as I drag number one up and down that's moving the threshold slider which is just below it at the same time because they represent the same thing just in different ways and so that threshold if I bring that down [Music] that's a ratio of one point two three so I'm going to bring that up to do something and then I'm gonna bring the game up on that just so that the actual level is roughly what it was before okay and I can turn turn the active switch so it's on enough and I can do something similar with all these bands [Music] [Music] so if I turn the whole plug-in on enough now with the overall overall game the same that's the kind of thing that you would quite often do in a master in context where you've got a mix that you're happy with and you're just trying to make everything sit separately so the base is smooth the mid to smooth the highs are not getting out of control but they're not kind of being compressed at the same times everything else I also sometimes find that on something like say a really aggressive pop vocal this kind of thing can really work quite well the last clever little trick that you can do here let's move on to the little vocal bit that I did which is rather silly but should prove a point if I set selection to iTunes and loop that 1 2 3 bar better better better better panned down Bob and Bob 1 or 2 3 bar better yet so that tutor we can use re X comp as a de-esser rather than having a separate DSO plugin all a DSO really does in most circumstances and there are other versions of DSS's it finds a particular frequency range and when it's too high it pulls it down that's compression but it's specific to a certain band which makes it multi-band compression so if we pull up this preset male DS change band twos frequencies for your singer then and one I think yes so it's almost no compression their band 3 which is above what we want no compression at all there and then band 2 which is roughly in the range of where essing is is set to really really compress really quickly bring that back up so that anything that's above a certain level it just ducks that down one or two three one or two three one or two three you see Network next to the number two when whenever I actually say the number two in the loop there it goes - eight point seven because it's pulling that much out of that frequency one or two three one or two three one or two three and you can actually see on the FFT behind it the scopes if I just make this a little bigger I could see that the t42 was happening a little higher up one or two three one or two three one or two three and then you play with your threshold until it's not killing the thing one or two three one or two three and you have a DSO that you've not to pay for that you've not had to get externally extra from Reaper it's right there as a preset in reacts comp so that might save you quite a lot of time there you go nice little trick for you let's move back to something simple let's move to EQ so Reapers own EQ is re EQ we mentioned this in the basics so I'm not going to spend too long on this one re EQ is really simple but also really powerful if I bring up Riku on the drums I can make this window bigger and the whole thing will become bigger so we can see what's going on clearer and it starts by default with 4 EQ points but you can have as many as you like so if I hit play you can see on the screen how much low end there is how much mid how much high range by default band number 1 if we move that up and down we can grab the number 1 that's a shelf which means that it generally grabs everything below that point and number 4 is a high shelf so that grabs all the high end up bahut boom beyond that point so if I move where that is around you can actually see graphically what that's doing which is really quite nice so we can make that and so they're relatively simple as they stand by default bands 2 & 3 band exactly as described which means you can see this kind of lump that one of them brings I'm dragging it left and right to change the frequency that it's aiming at and I'm simply dragging it up or down to add more or less you can also use the sliders down at the bottom for frequency gain and bandwidth bandwidth is really important because if you want to play with the bandwidth you can see on the screen you can be really specific about frequency or a lot more general if you just want to have say more mid but just a little bit generally all the mids you could have a really wide bandwidth like lots of octaves like that and just add just a little bit and you might want to have a really wide bandwidth on an EQ point if you don't want to hear the specific frequency start to jump out because that can happen quite a lot if you have to narrow bandwidth and that sounds like this if we have a really narrow banded could you hear that Warner or kind of noise there that's what happens when an EQ is too specific and there's too much you might want to use that as an effect cool but a lot of the time even when it's not that extreme if you tend to use too much EQ that's too narrow you can hear it very often so just be careful with that because if you use loads of one particular frequency it can be quite dangerous because you hear that and it sounds unnatural whereas what you might need is just a bit less but a bit broader so that you're adding a little bit of their frequencies around it so there's less of that ringing noise another thing that I tend to use a really specific EQ for is maybe like let's say the snare has an awful note in it's going oh don't what I can do is get a really narrow EQ and find that note just by sweeping it around really loud could you hear when I'm playing that the snares not going dong dong dong so what can do now is take the game back to normal back to zero and then go below and that will start to remove that note completely [Music] in this case the drums are recorded particularly well but if you've got an example of say a Tom that was out of tune had a particular extra note in or something like that you can start to remove little bits or if you've got an electric guitar that's got a really harsh kind of tone let's use that example actually let's just use one of these rhythm guitars and just solo it [Music] this is something that I see done a lot in professional production actually is that if you've got lots of really heavy guitars going on in a mix you might find there's a certain frequency that's really quite nasty in there and it's quite painful to the ears so what you can do is try and isolate it so it's even more painful and then just go no we don't want that and just remove some of it let's try that now and you might want to cover your ears apologies in advance [Music] [Music] so it's quite subtle on its own but in a mix it can make a huge difference when I disable this the electric guitar still sounds good but it's got a comic in that high range soon as I enable that EQ dip that nastiness has gone that's the kind of thing that that can be used for very powerfully other things that you can do briefly that is good to talk about while I'm on electric guitar is where if I got banned number one it said low shelf if I change that type we can use high-pass which kills everything below a certain frequency and that's really useful on heavy guitars because that can scoop out the ultra-low end which would fight with the kick drum and the bass and then if I move that as we're playing you'll really hear what that does [Music] [Music] there we go so you can hear almost makes kind of a radio effect as you go up but then what I really wanted was just to get rid of the super low Rumble because I still want kind of a brutal guitar sound there but I don't want that River going on there's just interfering with everything else you can also change the high shelf to be a low-pass which only lets things pass that are low by default this will sound quite muddy now but by bringing that back up I brought up to about 13 kilohertz anything that was above that that was super fizzy that was just getting in the way of the mix is now gone and you can find that you can make guitars particularly really fit in a mix quite well by using high pass and low pass filters at the right places don't overdo it and that can really help heavy stuff fit well not just heavy it also works in pop really well it works in all sorts of genres really especially when you've got loads of instrumentation going you might want certain synths for instance you might want to remove some low end or some ultra high end to leave space for things like vocals or kick drums or whatever it is that you've got that one you want to be the main focus in those frequency ranges that's a very easy very CPU efficient way to do it let's go back to the the solo guitar and quickly talk about Riedl a because Riedl a without Riedl a this this guitar solo sounds very dry so I'm going to turn on Riedl a now and the first thing that will happen is it sound really quite messy because it will just be a straight four beat delay so that's really quite kind of confusing and everything but by default all Riedl a is doing is taking that signal and playing it again four beats later now you can get really clever with this if I take length musical and just reduce that back to zero and add length time I can then measure this in milliseconds rather than in beats which is quite often my personal preference unless I'm working specifically to a tempo [Music] okay so for a second I'm going to just take away the dry signal which is the original guitar signal just so we can hear what's going to happen here because it can get quite dizzying on its own really so as we play that if we turn up some feedback here that will take the same delay and repeat it through a bit quieter bit quieter bit quieter based on the feedback if it's zero dB it would be exactly the same over and over and over it would be like a loop pedal [Music] [Applause] so you can't actually use that as a very crude loop pedal if you really want and then there's a high-pass and low-pass filter like we were just talking about with EQ you can use those in here and that's something that I find is quite useful on a delay because it takes away a lot of the high-end and super low-end that would interfere with a signal when you're trying to use a delay there's resolution which I tend not to mess with but you can if you want like loaf idle a and stereo width if you want to kind of mono it or have the left and right of a stereo signal be delayed kind of backwards which is cool and then so if I hit play on that that sounds more like you would imagine a delay pedal to sound so if I bring the dry signal back in which is the actual C and maybe bring the wet which is the amount of delay that we've got down a bit [Music] [Applause] [Music] cool so that's now a delay and which we add a tap this is where you can have as many of these delays as you like so what I'm gonna do is I've got exactly the same thing going twice the second one I'm going to make nearly twice as long and I'm going to use this volume and pan here and have one on the left and one on the right it's one of my favorite things to do with a ping pong delay is have one that side one that side so now if I hit play [Music] I've now got myself a nice ping-pong delay because one's twice as long as the other and that's really kind of nice in terms of getting big stereo delay sounds again without paying anything extra for any separate delay plugins or pedals or anything there you go at this point I'm just gonna give a very quick shout out to some of the slightly more niche plugins that are built into reaper that i don't tend to use on a daily basis but that are here are now really quite clever so there's recast so if you're using shoutcast so if you're doing like a live digital radio broadcast you can actually do that direct from reaper which is crazy that's really impressive you can just partly details in here just hit go broadcasting you're off there's there's re insert which I'm going to talk about much more when we get to talking about routing in the next in the next part of the series which is a really clever and cool thing but today is a little bit beyond what we're talking about there's renamed Jam so if you're using ninja which is a really clever little online collaboration tool I think you get like four bars that you play and then your friend on the other side of the Internet gets four bars and you get to kind of jam that's all there and I think that's really kind of cool there's restream which I've used before when I was doing the original set of reaper tutorials because what this can do is this can send the sound from any track in Reaper including the master track through to any other copy of this restream plug-in which you think oh well why is that a big deal but you can use the restream plug-in with any other D aw you can use restream with anything that will use vsts anywhere on your network so you could send your audio in real time to another computer on the network that's using logic or Pro Tools anything that can load three streams somehow because you can get these plugins by the way as a separate free download from the reaper website not to use with reaper if you want to use these plugins with something else like Cubase you can just do that I think that's amazing but what I would do is I would broadcast this using the local broadcast on the same computer and you use the word identifier you just call it a name so you can send different things and I would have one channel that was my voice over microphone being broadcast to the live stream software and another channel that was the mix so that I could then have them separate and that was so powerful for me there's Revo code which is clever so if you send it one signal and another signal it can use them together as a vocoder which is something this light from the 60s and 70s real classic experimental synth stuff and there it is just in a plug-in for you nice and easy there's reavoice which i've not really used but apparently it's a multi voice pitch shift that we're going to talk about pitch shifting in a minute but you can kind of play it like a keyboard that's really kind of cool there's recent which we talked about briefly in the previous episode which is kind of a synth generator which is really kind of clever and there's resample o matic which i might come back to and talk about another time but you can load samples in here and you can either trigger them like a drum way it doesn't change the pitch or you can actually trigger them like an old-school sampler you can do all sorts of sound manipulation in here and then stack it with other drums you can have make a full drum kit out of sampler Mattox and it means that getting samples and playing them with a MIDI keyboard that kind of thing suddenly becomes really easy and you don't have to go out and buy like an akai MPC sampler or anything like that if you've got a MIDI keyboard of any kind and this it won't take you long to just do that I mean you can even if I click on a sample and go import item from arrange it just puts that sample in here that saves you so much time you could load each separate drum up into Reaper click them and then click that button I mean this is a bit ridiculous having a a 91 second longer thar solo as a sample but if I wanted to and do things with it it's all there a plug-in that I want to spend a little bit time talking about that can be really quite powerful for you is reefer which is to do with FFT fast Fourier transforms and it's really quite clever you can use this in a few different ways it's got an EQ style which you can use which is very cool so you can do that with it you can make it an EQ you can change its mode to be a gate but not a gate like that opens and closes for everything but a gate this specifically just less certain frequencies through that you pick I mean I'm not sure what I would use that for but the fact that you can do frequency specific gating is really quite clever so reset it you can do compression but not like we Kompany year x comp this can you can just drag in specific point [Music] you can use it so that you can go at this particular frequency if it gets above this at any point just bring it down which is head bending there's convolving left to right which again is a little beyond me but one that I really like is the subtract mode and this is something I've seen Glen Freaker from Spectre Sound Studios use a few times as a noise filter this is something that's really quite clever what you can do let's just see if I've got a longer sample I've got a tiny little bit at the end of this guitar so just close that for a second where it can see there it plays and then it's got some kind of hissing noise at the end if I take the plug-in off for a second and you hear that hissing noise up what we can do with reefer and this is something it's really good if you're recording a vocal like this in a noisy environment it's really quiet in here so I don't tend to do noise reduction but if I'm out a broadcast or something I could use this and if I hear automatically build noise profile and just play the noise through it you can see at the bottom here if I now untie that so it doesn't add anything to it a very specific noise floor and the idea now is not that this is a gate but now if I play the solo through this at any point that background noise would be removed all the time and that's naturally then cutting out that noise all the time so even if you had some like horrible whining noise as long as it was consistent and constant this would do that job for you and I think that's really quite impressive to have as a free tool free noise reduction you might have to use up where I said there was the tick box at the top that turns it on and off right next to it is a little slider that changes how much effect is going and how much of the original signal is that's the wet control so 100% wet is everything that this plug-in isn't doing and 0% is you're not even using the plug-in and the originals coming straight through 50% is half and half and so on so you could balance the original signal and just take the noise down a little whilst leaving exceling quite natural depending on just how bad the noise was let's just play this bear the end here I can almost completely eliminate that background noise now using the FIA which is using not point four percent of my processor on this basic old laptop that's so efficient I could use that on every channel and it wouldn't overload the thing that's really clever next up something that we did mention in the previous episode which was reverb 8 which is the reverb plug-in so I'm gonna just play this guitar for a little further back [Music] so the only controls that you get here are how big the room is how much that high-end is dumped the stereo width if there's a little bit of a delay which I like to use a little bit before before the actual reverb comes in because that makes it sound more realistic to me and then there's low-pass and high-pass that you don't get any muddiness from the actual reverb [Music] [Applause] and that can be really quite useful it can also be quite limiting if that's exactly what you need then great if it's not then that's when we switch to using reverb which is a lot more powerful but can need some extra help so reverb if we put 100% wet [Music] we had it did reverb runs on impulse responses which is something that I could talk about all day impulse responses can be used for a great number of things but you can either generate one yourself here or you can load in a file and then play with it and that's what I tend to do the first thing that can do here is in this big blank space where it says impulse response generation I can add something so I can add a reverb or an echo generator and that will make something in here and that will just make you see is a bit for gapping and there's always sound if I add that in with the dry signal [Music] that's being generated in real time by this generator if I remove that and the echo generator that looks a lot more simple [Music] ah doesn't sound quite so nice but I'm sure there are applications there what I like to do here is I like to add a file now at this this point you can get impulse response WAV files from loads of different places the place that I use to get where is it for this I'm going to load in simplicity's brick ass tm7 and I'm going to find I don't know there's a big list of them here so I'm gonna go for bright plate and then bright plate mono to stereo and that looks like this [Music] and that needs to come down in volume so the first thing that I need to do where it says normal is apply minus 18 DB gain because that will suddenly make this a reasonable volume level because quite often impulse response files come in and they're really loud and make everything really loud [Music] [Applause] so if I add that in with the dry now [Applause] [Music] cool and that file is a capture of a brick ass dm7 really nice expensive reverb unit that's been condensed into a file so I'll leave a link in the description to simplicity's m7 impulse response library is free but it's also donation where so if you do end up using this stuff then do donate to their cause because they make some really good reverb stuff right here and you just download the one you need which for us was WAV files 32-bit in my case 44.1 killers if you're working in 48 then 48 there are different options as well for if you're using a different impulse response loader which we might talk about in the external plugins module but today we're going to talk specifically about reverb Zone in built stuff because this is really clever so after this file coming back to reverb I can now add a filter after that which will then if I want take some of the high end and the low end away from the reverb which is something I like to do quite a lot because I find that ultra high-end and ultra low ending reverbs can get quite muddy and messy with the rest of you myth [Music] [Applause] nice and there's also trim gain and stretch so what you can do and what I quite often do is change the maximum length to be shorter so what this will do now is instead of the reverb going on and on and on and on it will just kind of end a certain point which means that you still get that nice reverb sound that tone of that reverb but it doesn't go on too long it's quite useful kind of thing there another thing that's briefly worth mentioning is that this and some of the other reverb some of the other reaper plugins can make for a huge delay if you try and record this live with the monitoring like we talked about in the basics it will go with a real long gap and that is at the bottom here where you see the 16,000 samples that's the delay that's huge what you can do but the bottom right where it says performance in this plugin you can change the max FFT basically the higher the number there the better the quality is but also there's a tick box for ll which is low latency and there's ZL which is zero latency if I click zero latency I might now have to turn this plug-in off and on or maybe offline and then bring it online again yes there we go because that then reset the D plug-in so now the delay is zero and zero samples but the amount of processor usage has jumped up so it's a trade if you use the zero latency box there that means you can then track with that live and it won't cause huge delays but at the same time the amount of processor usage goes up if you've got processor usage to spare and that's what you need it to do by all means take that box but if you're just mixing then the computer will take care of that delay and shift everything so that you don't hear any delay so that everything works properly and the amount of processor usage will be a lot lower so yeah don't take box unless you need it but it's good to have it there if that's what you're doing with it which I quite often track singers and and that kind of circumstance with zero latency to get a real-time reverb I mean this is a really loud reverb it's more than I would send to a singer but I'm just trying to demonstrate things as obviously as possible to you here I'm going to use reverb one more time here in a completely different setup and that is if I look down here something that I've not shown you yet today is that I have I have these rhythm guitars as recorded as just the guitar amp with no speaker cabinet which is something you can do if you capture things just right and it sounds horrible it sounds like a box of bees what you can do with that and quite often I'll do something like using this two notes Allah crunch preamp pedal or the low lead or using a real to me like a pv amp or something like that with a two notes cap to load box the the sound you get off that will sound like that will sound really bright and what you can do then is you can load up an impulse response and we've just been using impulse responses for reverb you can also use impulse responses using reverb if we completely take out the dry signal here we can add a file of an impulse response of a guitar cabinet so if I go up a few and I've got this big list of the Celestion plus impulse responses which i've bought but there are free ones out there which I'll link to I think it's God's cab in the description which is a free makes her oversized four by twelve set of impulses that you can get I'm gonna use a Celestion vintage 30 and at four by twelve and I'm going to spare you the details here because I've already done a detailed video on this but I'm gonna use an sm57 balanced and without using the dry signal just using the wet signal through this this should sound now reasonable [Music] so this is it without and this is it with and because I'm not using the zero latency here I'm using not 0.2% of the processor usage again on this basic old laptop to make it sound like it's coming through a real screaming 4 by 12 cabinet which if you're recording in silence is exactly the kind of thing you probably wanted to use Reaper for in the first place because if you're recording at home you probably want these kind of features where you can have your real analog gear and it might take an extra bit of equipment like you're using a tube amp using something like one of these which is a load box it's a torpedo capita from two notes plug it into that then use the output into your interface you get that horrible buzzy sound but you load in an impulse response if you're tracking this live you use that zero latency tick box like I was saying and you'd be able to hear that in headphones or whatever sounding about as good as it's gonna get without the actual speaker blasting people and so that's all in built into Reaper and that's it you've got everything at your fingertips and we've not even talked about the j/s plugins which there are hundreds of which can do all sorts of weird and wonderful things and I encourage you to just go in and find those and play with them and just click on them and go Oh what does this do click and and just experiment because there's so much in there that without you having to look elsewhere you can really have a great time finding everything that you need in there like there are complete there are something like eight different types of delay or even more than that there are loads of different types of compressors and gates and I didn't even talk about gates and sidechaining and that kind of thing and I might leave that yeah I'll talk about the gate plug-in re gate which is inbuilt in the next module which is about routing because gates and routing can be intertwined they can be so linked that it's something I'm going to talk about in the next module so this is a probably a good place to leave this one and yes stick around guys thank you for watching because the next one is going to be really deep we're talking about how to send a sound to another channel and all the crazy things that that's for and what that can do for you thanks for watching thank you to all the patrons on patreon for helping us out because that really really helps us to keep doing these kind of things and we'll see you in the next episode thanks for watching see you soon thanks for watching guys if you enjoyed this feel free to check out our other videos as you can find here or check out our Facebook and Twitter or our patreon page which helps us to make more videos like this thanks for watching and we'll see you in the next video [Music]

Channel: Hop Pole Studios

Views: 109,734

Rating: 4.9725223 out of 5

Keywords: reaper, daw, tutorial, effect, vst, compression, EQ, ReaEQ, ReaComp, reaper daw, reaper tutorial, getting started, reaper daw tips and tricks, reaper daw for beginners, reaper daw free, reaper daw metal, tutorial music

Id: WmAp2153GDg

Length: 49min 16sec (2956 seconds)

Published: Mon Jul 08 2019