reaper sound editor interview Asbjoern Andersen


Excitement for the REAPER DAW continues to build, and in this special two-part guide, Anne-Sophie Mongeau shares her insights on how to make the most of it as a sound design tool – based on years of working with it for sound design:


Written by Anne-Sophie Mongeau



 

Over the last few years, Reaper has gained exponential popularity among audio professionals. It is indeed a powerful sound design tool which allows great flexibility and rapid workflow, provided that you familiarize yourself with some of its atypical functionalities and develop good habits from the start.

I have put together a series of workflow tips which I have come to develop over some years of working with Reaper. They are meant to provide some insight on how to get started, developing good habits and taking advantage of Reaper’s unique features. In this first article of a two parts series, I will go through the setting up process. In the second article, I will explore the Reaper workflow as well as some useful features.

There is of course more than one way to work with this DAW, and more than one set of shortcuts. If you already work with Reaper, you may take some of these tips as suggestions rather than instructions. However if you are just getting started, I strongly recommend following these simple guidelines.

Getting started

Set the Reaper Project Settings

Setting up the Reaper Project Settings (File > Project Settings or alt+ENTER) to your liking at an early stage will allow you to save a considerable amount of time. By clicking ‘Save as default project settings’, you will only need to this step once. Given the use I make of Reaper (mostly for sound design), this is how I usually like those settings:
Reaper project settings

Under the Project Settings tab
• Project sample rate: 48000 Hz
• BPM: 120
• Time signature: 4/4
• Timebase for items/envelopes/markers & Timebase for tempo/time signature envelope:

This is relevant mostly if you are working with tempo changes (for example if you are composing music and/or working with video). It determines how those different elements will behave when you change the BPM (overall or per section). It also matters if you are working with sound files or MIDI. You usually wouldn’t want to stretch your sound files when changing the project tempo, as this might generate unwanted artifacts. However, MIDI files can be stretched in order to match your tempo change and the virtual instrument will adapt accordingly without affecting the quality. Hence, I usually leave the Timebase for items/envelopes/markers to Beats (position only) and the Timebase for tempo/time signature envelope to Beats.

However, I strongly suggest setting the appropriate timebase for each relevant track when/if necessary. (Right-click on a track > Set track timebase > Time. This is very useful if you have both midi and audio files within your project, or if some items/tracks are beat sensitive and some others aren’t.
 

Reaper project media settings

Under the Media Tab
• WAV bit depth set to 24 bit PCM
• Set a Path to save media files.

This will create a subdirectory within your project directory to store media files. It is very useful to keep project directories clean, especially when working with hundreds of files. I name this path ‘Audio’, it could also be named ‘MediaFiles’ or something equivalent.

I usually leave the Video and Advanced tabs options to their default state, and change them per project when/if necessary.

The Notes tab can actually be quite useful when sharing sessions. For instance, you can write something about your latest changes or incomplete tasks to let your coworker(s) know, and tick the Show notes on project load box to make sure it appears when the session is opened.

When you are happy with your settings, click the Save as default project settings button to make sure these are remembered for every subsequently created Reaper session. You can always go back and modify them per project.
 

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

Set the Reaper Preferences

In addition to the Project Settings, you can use the Reaper Preferences window to set various paths, device and appearance settings, and so on. One of Reaper’s great strengths is its customisability; the Preferences give you a tremendous amount of options to personalize your workflow. It would be impossible to go through the entire Preferences in one article, but the following are some of my favored settings:

General > Paths
Tick Store all peak caches (.reapeaks) in alternate path and set path.
This will save all the reapeaks files in an alternate directory which will leave your project directory much cleaner.

Project
Tick Prompt to save on new project.
I find it extremely useful to be prompted to save when creating a new session: it avoids ending up with sessions saved in the wrong places, or work in an unsaved project for a while (which is risky). I find it’s a disciplined way of keeping my Reaper sessions neatly organised.

Audio > Device
Select appropriate audio drivers & system
This is where you set which Audio system and drivers you wish to use, according to the equipment you are working with (audio interface). It is as straightforward as it is important: not setting the Audio system properly will result in errors when trying to playback or record audio.

Audio > MIDI Devices
If a MIDI device is not detected automatically, this is where you should see any connected device and be able to right-click it and select ‘enable input’.

Appearance > Media
I like to personalise the Media item buttons displayed on the items within the project. I find that the most useful ones are

Locked, Not locked (will allow you to quickly be able to click that button whenever an item needs to be locked);
Muted, Not muted (same with Mute button);
Per-take FX (will only show if an effect is present on the item);
Automation Envelopes (same with envelopes);
Notes (same with notes);
Item Properties only if resampled media;
Pooled MIDI;
Grouped items.

Plug-ins > VST
You can set one or more VST plug-in paths here and simply hit ‘Re-scan’ if you acquire new plug-ins and VSTs to update your database.

There are many other features you can customise, such as the scroll and zoom functionalities and anything appearance related, but I find that at least with those quick additions you are in a good place for an efficient workflow. Those settings will be remembered for all subsequently created Reaper projects.


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


Trending right now:

  • Cinematic & Trailer Sound Effects SpellBound Play Track 969 sounds included, 122 mins total $90

    SpellBound is premium sound effects library exploring the intersecting spaces of modern magic and science fiction energy. The result is a polished, designed, and inspiring set of cinematic magic sounds ready to bring new life to your film, game, and media projects. Brian Johnson, the creator of SpellBound and Slipstream is an award winning sound designer who after working in film, and television, has found his home designing sound for the biggest video game franchises in the world.

    SpellBound has 969 total sound effects
    Spells, explos, tails, whooshes, beds, impacts, drones, and more.

    Designed section – 202 designed multi-event show stopping full frequency sound effects.
    Elements section – 767 designed construction kit, layers, sweeteners, and single event effects.

    SpellBound can compliment your fx arsenal with traditional fantasy, modern magic, cinematic impacts, and even as an explosion sweetener. It can take over a fantasy trailer or a compliment a hybrid space magic video game.

    Thank you for licensing SpellBound. I hope it inspires you to create something exciting and magical.

    SpellBound Flyer

    28 %
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  • Introducing MOTION GRAPHICS, a complete Motion Graphics sound effects library from SoundMorph!

    Motion Graphics focuses on all the elements you might need for sound design on a trailer, a cinematic scene or a visual that is heavy with motion graphics, whether it be abstract or straight forward, Motion Graphics has all the elements and textures you could think of. Motion Graphics are something all of us sound designers run into at one point or another, so this library is an excellent addition to your sound effects tool box.

    Motion Graphics was created by and in collaboration with sound designer Rostislav Trifonov (SoundMorph Elemental library contributor).

    Motion Graphics features 650 24bit/96 kHz .wav files, all meticulously embedded with Soundminer & Basehead metadata.

    The library features:

    • 450 + designed sound effects
    • 190 + source audio files
    • Whooshes
    • Impacts
    • Risers
    • Stingers
    • Low end and Sub Bass
    • Impulse Responses
    • Passbys
    • Textures – noise, grit, glitch
    • Ambiences
    • Buttons and Clicks
    • Mechanical Elements
    • Granular effects
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  • Khron Studio - Forged In Fury Vol 2

    Forged in Fury Vol. 2 – Modular Weapon Sound Design Kit

    Forged in Fury Vol. 2 continues the philosophy of providing fully modular sounds, allowing you to design and customize your weapon audio exactly as you need. Each element is carefully edited and organized into categories such as whooshes, retractions, impacts, blood, and more, giving you total control to adapt and layer sounds to your project.

    This volume includes 586 individual sounds at 192 kHz / 24-bit quality, ready to use as-is or to combine and shape into something entirely new.

    🎧 Featured Content:

    – Greatsword (123 sounds)
    Heavy metallic textures with more weight, blood, and impact than a standard sword.

    – Iron Staff (74 sounds)
    Inspired by the legendary staffs of Shaolin monks, offering solid strikes and metallic resonances

    – Karambit Knife (252 sounds)
    Fast, sharp, and deadly. Featuring rapid spins, swift cuts, and an ever-present sense of danger.

    – Nunchakus (137 sounds)
    Dynamic and versatile, infused with the spirit of classic martial arts films. Includes wooden hits, chain rattles, and fast whooshes.

    🔑 Key Feature:
    As in the first volume, each sound is delivered in editable layers (e.g., whoosh + impact + blood). Want a greatsword strike without blood? Just combine whoosh + hit and you’re set. You can even swap layers across different weapons to create entirely new variations.

    🎚️ Studio-Grade Quality:
    Recorded at 192 kHz / 24-32 bits and delivered at 192 kHz / 24 bits, ensuring outstanding fidelity. Perfect for pitching, distortion, and heavy processing without losing clarity.

    👉 Forged in Fury Vol. 2 is not just a sound library, it’s a true creation kit, giving you the freedom to craft weapons and scenes with maximum flexibility and realism.

    More about the pack
    – Intuitive file naming
    – Everything you need for a Greatsword, Iron Staff, Karambit Knife, or Nunchucks.
    – Use the sound effects over and over again, in any of your projects or productions, forever, with no additional fees or royalties. Use the sound effects in your game, your trailer, a Kickstarter campaign, wherever you need them, as many times as you want.
    – Fully mono support
    – All sounds have several variations.
    – Unleash your imagination and feel free to use any sound for something other than what is described; remember that the world of sound is entirely subjective.
    – For any questions or problems: khronstudio@gmail.com

    Features
    – 586 sounds
    – Format: 192KHz / 24 bits
    – Do Sound FX loop: No
    – Win/Mac: Yes
    – Minutes of audio provided: 06 minutes and 02 seconds

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    Ends 1761778799
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Latest releases:

  • This is a varied collection of sounds recorded from a vintage mechanical clock dating back to 1934. Includes chiming sounds and multiple perspectives of ticking.

     

    Features:

    • Over 30 audio files
    • 96kHz 24 bit WAV format
    • Metadata tagged (UCS compliant)
    • Available for commercial or non-commercial use, with no attribution required
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  • Car Sound Effects Lexus RC-F Play Track 15 sounds included $10

    A comprehensive mini-library collection of Lexus RC-F recordings capturing the raw power – from subtle idles to roaring accelerations and high-speed passes. This is not a large library, but a focused collection of exterior sounds.
    Perfect for film, games, and commercials.

    17 %
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  • Foley Sound Effects Zastava 645 Zeta 1988 truck Play Track 140 sounds included, 52 mins total $65

    All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is only available in UCS.

  • Metal Sound Effects Military Truck Percussion Play Track 321 sounds included, 14 mins total $10

    A US Military Truck is transformed into a percussive instrument and hit with drum sticks and a variety of mallets ( gong, xylophone and timpani ) and sampled using contact microphones and geophones.

    A unique collection of 321 metallic percussive hits perfect for metal impact sound design and transient shaping.

    Type : Source Files / WAV Mono

    Normalised : -6 dbFS

    Grouped Files for Easy Reference Included

    Recorder : Sound Devices Mix Pre 10II

    Microphones : Stille & Klang Spot, LOM Geofon

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Need specific sound effects? Try a search below:


Saving a Reaper session

When saving a new Reaper session, you should always:
• tick Create subdirectory for project
Copy all media into project directory.

reaper file names
This allows the Reaper session to be completely independent and non destructive to original files. It will create a folder containing the Reaper session file along with copied media files. The ‘Audio’ Path to save media files created earlier in the Project Settings will create a subfolder within the directory for all media files. If you don’t do these steps, you will encounter issues when moving the project and could be modifying original files.
 

More reads on REAPER
Want to know more about REAPER? Here are some more A Sound Effect stories about it:

The Rise of REAPER – with Justin Frankel
5 useful tips for making the most of REAPER – by Jon Tidey

 

Set and use shortcuts

In Reaper (as in any DAW really), keyboard shortcuts are your friends. Many of them will be set by default, you may like them or want to change them according to what you are used to from a previous DAW workflow, or simply adjust them to what makes more sense to you. You can access all actions and shortcuts through the Action list window: Actions > Show actions list…
reaper shortcuts

• To find an action (per type or per name), use the Filter (for instance split, glue, nudge, etc);
• To find out what actions are performed by specific shortcuts, use the Find Shortcut button;
• To set custom shortcuts for existing actions, use the Shortcuts for select action section at the bottom left. Simply select the action in the action list, click the Add… button and enter the desired shortcut. If the shortcut is already used, Reaper will prompt you to decide if you wish to override it or keep the original one.
• To create custom actions click on Custom actions: New > drag desired actions. You can then assign a shortcut to your custom action. This is very handy and can greatly increase your workflow speed when you need to perform some repetitive task.
 

Get the SWS extensions

They can be downloaded here

The SWS extensions are a collection of features which integrate directly and seamlessly into Reaper as additional functionalities. It is entirely free and extremely simple to install, you can find a full list of their actions here.

This concludes how to get set up using Reaper. Keep an eye out for the second article of this two part series to know more about the Reaper workflow and some of its useful and unique features.
 

A big thanks to Anne-Sophie Mongeau for her REAPER insights! Part two of this guide – covering workflow and some of the unique REAPER features – is here

 

Please share this:


 

 

About Anne-Sophie Mongeau
Anne-Sophie Mongeau is a game audio engineer at DIGIT Game Studios, and has a great blog about sound here. You can also meet her on Twitter here.

 



 
 
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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:

  • Cinematic & Trailer Sound Effects SpellBound Play Track 969 sounds included, 122 mins total $90

    SpellBound is premium sound effects library exploring the intersecting spaces of modern magic and science fiction energy. The result is a polished, designed, and inspiring set of cinematic magic sounds ready to bring new life to your film, game, and media projects. Brian Johnson, the creator of SpellBound and Slipstream is an award winning sound designer who after working in film, and television, has found his home designing sound for the biggest video game franchises in the world.

    SpellBound has 969 total sound effects
    Spells, explos, tails, whooshes, beds, impacts, drones, and more.

    Designed section – 202 designed multi-event show stopping full frequency sound effects.
    Elements section – 767 designed construction kit, layers, sweeteners, and single event effects.

    SpellBound can compliment your fx arsenal with traditional fantasy, modern magic, cinematic impacts, and even as an explosion sweetener. It can take over a fantasy trailer or a compliment a hybrid space magic video game.

    Thank you for licensing SpellBound. I hope it inspires you to create something exciting and magical.

    SpellBound Flyer

    28 %
    OFF
  • Introducing MOTION GRAPHICS, a complete Motion Graphics sound effects library from SoundMorph!

    Motion Graphics focuses on all the elements you might need for sound design on a trailer, a cinematic scene or a visual that is heavy with motion graphics, whether it be abstract or straight forward, Motion Graphics has all the elements and textures you could think of. Motion Graphics are something all of us sound designers run into at one point or another, so this library is an excellent addition to your sound effects tool box.

    Motion Graphics was created by and in collaboration with sound designer Rostislav Trifonov (SoundMorph Elemental library contributor).

    Motion Graphics features 650 24bit/96 kHz .wav files, all meticulously embedded with Soundminer & Basehead metadata.

    The library features:

    • 450 + designed sound effects
    • 190 + source audio files
    • Whooshes
    • Impacts
    • Risers
    • Stingers
    • Low end and Sub Bass
    • Impulse Responses
    • Passbys
    • Textures – noise, grit, glitch
    • Ambiences
    • Buttons and Clicks
    • Mechanical Elements
    • Granular effects
    91 %
    OFF
  • Khron Studio - Forged In Fury Vol 2

    Forged in Fury Vol. 2 – Modular Weapon Sound Design Kit

    Forged in Fury Vol. 2 continues the philosophy of providing fully modular sounds, allowing you to design and customize your weapon audio exactly as you need. Each element is carefully edited and organized into categories such as whooshes, retractions, impacts, blood, and more, giving you total control to adapt and layer sounds to your project.

    This volume includes 586 individual sounds at 192 kHz / 24-bit quality, ready to use as-is or to combine and shape into something entirely new.

    🎧 Featured Content:

    – Greatsword (123 sounds)
    Heavy metallic textures with more weight, blood, and impact than a standard sword.

    – Iron Staff (74 sounds)
    Inspired by the legendary staffs of Shaolin monks, offering solid strikes and metallic resonances

    – Karambit Knife (252 sounds)
    Fast, sharp, and deadly. Featuring rapid spins, swift cuts, and an ever-present sense of danger.

    – Nunchakus (137 sounds)
    Dynamic and versatile, infused with the spirit of classic martial arts films. Includes wooden hits, chain rattles, and fast whooshes.

    🔑 Key Feature:
    As in the first volume, each sound is delivered in editable layers (e.g., whoosh + impact + blood). Want a greatsword strike without blood? Just combine whoosh + hit and you’re set. You can even swap layers across different weapons to create entirely new variations.

    🎚️ Studio-Grade Quality:
    Recorded at 192 kHz / 24-32 bits and delivered at 192 kHz / 24 bits, ensuring outstanding fidelity. Perfect for pitching, distortion, and heavy processing without losing clarity.

    👉 Forged in Fury Vol. 2 is not just a sound library, it’s a true creation kit, giving you the freedom to craft weapons and scenes with maximum flexibility and realism.

    More about the pack
    – Intuitive file naming
    – Everything you need for a Greatsword, Iron Staff, Karambit Knife, or Nunchucks.
    – Use the sound effects over and over again, in any of your projects or productions, forever, with no additional fees or royalties. Use the sound effects in your game, your trailer, a Kickstarter campaign, wherever you need them, as many times as you want.
    – Fully mono support
    – All sounds have several variations.
    – Unleash your imagination and feel free to use any sound for something other than what is described; remember that the world of sound is entirely subjective.
    – For any questions or problems: khronstudio@gmail.com

    Features
    – 586 sounds
    – Format: 192KHz / 24 bits
    – Do Sound FX loop: No
    – Win/Mac: Yes
    – Minutes of audio provided: 06 minutes and 02 seconds

    45 %
    OFF
    Ends 1761778799
Explore the full, unique collection here

Latest sound effects libraries:
 
  • This is a varied collection of sounds recorded from a vintage mechanical clock dating back to 1934. Includes chiming sounds and multiple perspectives of ticking.

     

    Features:

    • Over 30 audio files
    • 96kHz 24 bit WAV format
    • Metadata tagged (UCS compliant)
    • Available for commercial or non-commercial use, with no attribution required
    13 %
    OFF
  • Car Sound Effects Lexus RC-F Play Track 15 sounds included $10

    A comprehensive mini-library collection of Lexus RC-F recordings capturing the raw power – from subtle idles to roaring accelerations and high-speed passes. This is not a large library, but a focused collection of exterior sounds.
    Perfect for film, games, and commercials.

    17 %
    OFF
  • Foley Sound Effects Zastava 645 Zeta 1988 truck Play Track 140 sounds included, 52 mins total $65

    All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is only available in UCS.

  • Metal Sound Effects Military Truck Percussion Play Track 321 sounds included, 14 mins total $10

    A US Military Truck is transformed into a percussive instrument and hit with drum sticks and a variety of mallets ( gong, xylophone and timpani ) and sampled using contact microphones and geophones.

    A unique collection of 321 metallic percussive hits perfect for metal impact sound design and transient shaping.

    Type : Source Files / WAV Mono

    Normalised : -6 dbFS

    Grouped Files for Easy Reference Included

    Recorder : Sound Devices Mix Pre 10II

    Microphones : Stille & Klang Spot, LOM Geofon

    https://www.youtube.com/watch?v=O805cKU_XrE

    33 %
    OFF
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is only available in UCS.


   

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