I'michael simming an analog console in REAPER. How do you make use of several plugins to achieve your very own channel remove sim/analog feel? A several more questions on stacking comps and blend chartering.
So I've ended up using REAPER with a default design template to amount an analog console. At minimum 16 audio paths, two reverb sends, a hold off send, and a several mix chartering. Are mix busses supposed to jointly gather all the songs and after that deliver to the get better at? Or are they for parallel running rather?
My present audio channelstrip is usually: ReaEQ subtractive gt; ReaComp smooth knee, reduced ratio, -2 - 4dW GR gt; 1176 to catch big transients or subtely get the louder components in a track.
That has been my finding too, usually my tracks will have lots of distortion plugins, stereo wideners and tape emulations on them. Then when I add the console emulation the overall cumulative effect is quite minimal, you really have to try listening to hear a difference. True, it ain't cheap, and that's a subscription price so it works out to $180 a year, but you get every plugin they have - eqs, compressors, tape emulators, console emulators, preamp emulators, de-esser, mastering limiter, and very soon, reverb and delay and a Distressor comp clone - and they are some of the highest quality plugins available.
The 1176 is usually alright, I including the method ReaComps feedback detector will take some high end away from and the 1176 gets rid of this off though. Attempted all the other Reaper comps, nó metering but thé electronic versatile compensation which is usually just like RéaComp but fór JS.
Wháts long been your encounter with stacking cómps in Réaper?
WouId it become worth having an EQ after the first comp instead? Then have the next comp?
Your general preferred station strip design?!!
Thankyóu in advance, can'testosterone levels wait to talk about.